When Will Mainstream Hip-Hop Learn From the Teacha?

When Will Mainstream Hip-Hop Learn From the Teacha?

      From the title of the Hip-Hop group, KRS-One (Knowledge Reigns Supreme Over Nearly Everyone,) to an admirable resume of civil service, including the establishment of the "Stop the Violence" Program, these artists knew the power of soulful jams. As some of the founding fathers of the genre, KRS-One demonstrated that the role of Hip-Hop was to educate others about the social and political conditions of poor urban America and to provide an outlet and feeling of significance to those suffering from injustices, such as urban decay and New York's "Stop and Frisk" Law, which allows NYPD to stop civilians simply on the grounds of "looking suspicious." With highly political music,  KRS-One galvanized conversation about what was up with the other side of NYC. With brazen, yet clever lyrics and dope beats, the masterminds told their side of history and current events, advancing in the industry, hoping that "stereotypes of a black male [would no longer be] misunderstood" ("Juicy," Notorious B.I.G.).

"Rap is something we do. Hip Hop is something we live!" -KRS-ONE

 One of the first MC's to merge Hip-Hop and Jamaican style music, KRS-ONE features funk roots, often sampling James Brown, with syncopated and danceable beats. Return of the Boom Bap is KRS-ONE's first solo album, and was produced by Dj Premier, Kid Capri, Showbiz, Norty Cotto, and Douglas Jones through Jive Records label in 1993. This album displays what some might call "real" Hip-Hop. With raw lyrics, KRS-ONE spits about the do or die struggle of living in the projects and surviving as a black male in the late 1980's and 90's. The style of the particular album, Boom Bap, consists of hard base drum and snapping snare. The beats of this style amplify the loud messages in the lyrics. Listen to some tracks and you'll start questionin' how well you know the city around you and the injustices that you may be unaware of. KRS-ONE proves synonymous with real Hip Hop. In this album, the rhyme master continues to deliver the straight forward, yet cleverly crafted lyrics that he is notorious for. We hear ya conscious rap loud and clear, Teacha. Give us more.

        For starters, the second track on the album entitled "Outta Here," underscores the significance of Hip-Hop at its origin. First developing in the Bronx, Hip Hop was a social and political response to racism and the municipal denial of public service. Poor urban youth fed up with the injustices said, "Fine, we'll throw a party." With societal limitations, some hoped it would be their ticket out of the hood and its perilous corners. This song is the epitome of those early concepts. The lyrics of the first verse describe Lawrence and his younger brother, Kenny going to these block parties "till the cops broke it up." Those that view Hip-Hop stereotypically often assert that "hood" music breeds hostility and aggression, which isn't necessarily true. This music evolved into a culture, creating a community, a psychological "youth center" to stand in for those that either didn't exist or were utterly run down. The fact that NYPD would breath such "centers" down is what truly stimulated anger, as KRS-ONE conveys. The rapper emphasizes the community-like nature of Hip Hop in verse three as he describes his relationships with other artists, such as Eric B. and Rakim. Continuing to flow, Teacha spits that he "used to watch that show 'I Dream of Jeanie'/ and dreamt about 'When will I be large like Whodini?" (Verse 2).  In the show I Dream of Jeannie, the protagonist, Captain Nelson, calls on Jeanie whenever he pleases and when he does, she grants his desires. Certainly, MCs and rappers hoped for an easier life, but unlike Captain Nelson, they were proactive in a way that they knew how, instead of relying on others. Free flowin' and dope beats gave this demographic a sense of purpose and a medium in which it could positively show off its talents when many people saw the individuals as data that rose a negative statistic. KRS-ONE represents, revealing his side of the story. In fact, the end of the verse says it all. 

"I had nothin' left and it was scary

So I dropped By All Means Necessary

Another Hip-Hop group that was a friend of me

Was a revolution called Public Enemy

It Takes A Nation of Millions To Hold Us Back"

Right here KRS-ONE  shares that both he and PE believe that the purpose of this genre is to provide access out of impoverished neighborhoods, such as the South Bronx, where Teacha is from (RapGenius). 

      Sound of Da Police, perhaps one of the most popular tracks on the album, brings a more focused attention to the abusive forces of the NYPD. Before diving in to the lyrics, here's some info on the NYPD. According to a statement made by the force on its official website the role of the NYPD is as follows: 

"The misson of the New York City Police Department is to enhance the quality of life...in accordance with constitutional rights to enforce the laws, preserve the peace, reduce fear, and provide for a safe environment."

But how can New York bring peace to its streets when the city instates laws, such as "Stop and Frisk?"  The law was active in the late 80's and 90's, when KRS-ONE was at his peak, and is still active now. 

     

      The lyrics of this song shed light on the corruption of the police force, educating its listeners about the reality of boroughs, such as the Bronx, Brooklyn, and Harlem. The rapper calls out NYPD, "Are you really for peace and equality?/ Or when my car is hooked up, you know you want to follow me," but doesn't stop there. (Verse One). To KRS- ONE the NYPD's behavior is more than hypocritical. Teacha continues comparing police officers to overseers as he spits, "The overseer could stop you what you're doing/ the officer will you pull you over just when he's pursuing" (Verse Two). The native New Yorker spits truth. From several hundred years ago to present day America, Blacks and minority races have been slighted rights...obviously. Yet in present day America, when one would think America may have reached the status of country "for the people," he is a bit short. White authority continues to accost on the basis of race. Perhaps the most profound aspect of the song is the recording in the intro and between verses: "Whoop! Whoop! That's the sound of da police. Whoop! Whoop!/ That's da sound of da beast!" Through these easily dismissible lines, KRS-ONE reveals the deep association he has with police in general. When he hears sirens, he doesn't think about who the police may be protecting, or the danger some civilian on the street may be in, and worry in concern. Na! It's the white man doin' the do: taking advantage of the black man 'cus he feels like it, never required to pay any sort of reparation. History certainly proves his point. Take for instance, the Rodney King beating. Or how about recent in history, like May 2012 when 15 y/o Brittany Rowley was assaulted by NYPD because she matched the description of shoplifter that was black and had a pony tail. Teacha tellin' you to look up, boyeeee!!

     As discussed in Jay-Z's Decoded, a large aspect of the art of Hip Hop is restating what others have already said in a unique way. Many rappers have shared that Hip Hop saved their life. In the song, "Stop Frontin'," KRS-ONE re-presents the theme with his own flare. In the first lines of the song "hip hop will never die./ Despite the fact that I'm fly, I'm never dry". In his early career, critics deemed KRS-ONE as a mere fad. The rapper suggests that the passion and force of he and his Hip Hop brothers exude based on the importance the music serves in their lives will keep the industry going. He asserts that just because he looks like another gangsta, he ain't a poser that's about to let his light go out. He's always got rhymes in his back pocket. The supply will never run out, unlike the cash in his wallet. He defensively flows, "You want to know what my problem is, if you're curious?/ I take this Hip Hop shit too serious". The evident defensive tone may stem from the belittlement the genre receives. It's not just another kind of music, Hip Hop is a lifestyle. But KRS-ONE doesn't just talk the talk, nor does he front, like those he criticizes in the song. His lifetime philanthropic efforts, recognized in the 2008 BET Awards, reflect the swag in the way he walks the walk. Because Hip Hop is a social and political response, his many wonderful achievements give him the right to tell other rappers to "skip me when you dissin', skip me when you on an ego misson/ I blow up like nitroglycerin!" KRS-ONE not only did something about the violence he saw, but he also "come[s] to the party inconspicious" (Verse 4). He ain't into flexin' his nuts, which is a quality to value. 

    All in all, this album is a grand slam. Dimitri Ehlrich of Rolling Stone raved, "His raps combine cultural literacy, wild imagination and absurd wit with mad street flavor. KRS expresses ideas with such exuberance that the zany logic of some of his assertions goes down like candy-coated pills." An article from The Vibe stated that this album is "the second greatest comeback in hip-hop folklore after LL Cool J declared Mama Said Knock You Out (2012). The lyrics and beats on this album are spectacular, while the album as a whole progresses the Black Power Movement. Because KRS is so political and his lyrics differ from other political rap groups' violent lyrics, such as those of NWA, I thought I'd include an excerpt of an interview in which Teacha discusses war, leadership, and religion. Check it out y'all. 

Nas "Life is Good"

"I know you think my life is good cause my diamond piece/ but my life been good since I starting finding peace" 

- Nas

Nas has been viewed as one of the best wordsmiths of all time after releasing Illmatic in 1994. He never lost this status, but his more recent albums like Nastradamus, released in 1999, and Street Disciple, released in 2004, failed to match his best work. However, his 10th LP, Life is Good, may challenge Illmatic for Nas' best album. Its not that his flow is still incredible, or his excelent, poetical lyrics that set this album apart from the rest. Its the fact that Nas bears his soul to us, and rhymes about subjects that other emcees ignore. Nas has shown that he excells when facing adversity. This time, he is dealing with his divorce from R&B singer Kelis and trouble with the IRS. These topics, as well as genuinely intelligent lyrics, make Life is Good feel more grown up than most hip hop albums. 

Part One: "No Introduction"

In his first track, "No Introduction," Nas shows that while His life may be good now, he faced quite a battle getting to this point in his life. The first verse speaks to the challenge he faced as a young kid, having to provide for his family, and growing mature beyond his years. 

We was hungry kids

Mom's working, I was famished

She getting home late

So I decided now I'm in charge

Either stay full or starve

Corner store like Mr. Spare-a-Quarter

The second verse takes place today, while he boasts about his success, gives advice, and reminices about a conversation with Notorious B.I.G. The final verse lays out the alubm's themes, like his marital problems, financial woes, and problems woth his haters. 

Part Two: "Accident Murderers" (ft. Rick Ross)

In the album's 4th track, Nas tells a story of a driveby gone wrong, and criticizes the senseless violence associated with the "gangster" lifestyle. He points out that some youth spend more time on the streets trying to gain a reputation through violence because as people get more and more involved with gang culture they develop and image that they have to maintain. He is disgusted that kids are forced by their envorenment to become killers. 

Violent adolescents, homicidal with weapons

Not a lot of knowledge inside of they minds, that I'm guessing

Tell me who you impressing

The rest of the song reflects back on these lines, as Nas mourns the loss of his childhood. 


Part Three: "Daughters"

Nas and his daughter Destiny Jones

In this track, Nas reflects on his relationship with his daughter. Like any good parent, he wants his daughter to dream big, then grow up and be successful. He is worried his fame has influences her as she grows up. 

At this point I realized I ain't the strictest parent

I'm too loose, I'm too cool with her

Shoulda drove on time to school with her

I thought I dropped enough jewels on her

Nas fears he hasn't done his job has a parent. He feels like hes been too easy on her, and has treated her like a friend instead of daughter. Nas thought he taughter to behave, and treated her well, but her recent scandal involving twitter has proven him wrong. 

Part four: "Stay" 

On this track, Nas is able to flow seamlessly from mentioning the 5% Nation, hard working men, evil women, family and riches. In the second verse, Nas talks about the complicated relationship between artists and haters. 

Even though I don't like you

Next Friday night can't wait to fight you

Locked up I would knife you

Don't fuck with you

Last month I even bucked at you, you got locked

I felt bad, wait do I got love for you

I might kill you but do I got love for you

I want you dead under six feet of soil

At the same time

Want you here to witness me while you in misery

We hate each other but it's love

Nas' exploration of this love-hate relationship are some of the most interesting lines on the album. Essentially, musicians and critics can never get along, but they are both depentent on eachother. He claims critics enjoy seing artists struggle. However, haters show artists they are successful. If someone doesn't have any critics, he is doing something wrong. Nas understands this relationship, and uses is to his advantage. 

Revolutionary Vol. 1: Immortal Technique

 "Every time I speak my mind I'm lyrically critical,

The pinnacle of being revolutionary pivotal."

 

- Immortal Technique in "Speak Your Mind"

 

Revolutionary Vol. 1 put Immortal Technique on the hip-hop map. Felipe Coronel, aka Immortal Technique, was arrested numerous times in his high-school and brief college years. While on parole, "Tech" set out to the Harlem streets, becoming famous for his freestyle skills and intellectual put-downs. He used the money from his freestyle victories to create and distribute this album, Revolutionary Vol. 1. The album is pure hip-hop. Tech samples several old hip-hop songs, shows off his MC skills with remixes in between songs, has dialogue before the beat drops, and even incorporates speeches from black leaders like Malcolm X in his music. Although all of this adds to great hip-hop, Tech separates himself by his political messages and intellectual lyrics. He talks of a revolution; specifically, a revolution against the bureaucrats, big business monsters, and corrupt governmental officials who make America racist and hypocritical. Two of his songs in the album,"Speak Your Mind" and "The Poverty of Philosophy," are not even Tech rapping, but instead are lectures by Tech about America's faults and sell-out MCs. Although he's criticized for his bland voice and lack of variety, I find Immortal's lyrics and style more than intriguing.

                

Immortal Technique

Malcolm X

One of the biggest topics I.T. preaches about is hip-hop sell-outs. Due to his heavy beef with sell-outs even in his very first album, it is likely that one of the reasons he felt the need to produce hip-hop was to voice his opinion on the losers who taint the reputation of all artists in the subculture. In "The Getaway," Tech has this to say about the sell-outs: 

And when I go to South America people'll be tryna hug me
Cause I talk about reality that effects them
And even though I blew up I could never neglect them
What kind of a revolutionary action would that be
I be categorizing practically every other MC

Unlike most rap artists, Tech states that he doesn't rap for the money and the fame, but instead for those whose problems go unnoticed to the public. Even after one of his albums reached Top 20 status in the US, he has held to the words he preached back in 2001; not once has he used a record label company to boost his revenue. He also makes a similar diss to sell-outs in "Dominant Species" with the rhymes "I don’t car about your link or your luxury car/ I shed light with more magnitude than all of the stars," saying that despite the fame and success of these rappers, his lyrics shed more light on actual issues than all of the greedy sell-outs combined. Immortal is real.  

Street Life vs Sell-Out

Tech speaks of reality as well. In the same song as above, he states that his style "is like a ten year old with a slit wrist / too much reality to make the hit list." Again not caring about his status on the top of the charts, he instead prefers voicing his opinions on the realities of life where he grew up in Harlem and in other black communities. Similar to NWA's problem with the Parental Advisory labels on their CDs, Immortal here states that the media and the upper class like to take advantage of the popularity of hip hop while covering up the reality of the topics discussed in the music, and those who do discuss these topics in full will never become famous and popular. 

According to Immortal Technique, "business giants and government officials" are largely responsible for the problems in black communities. He highlights this point in "The Poverty of Philosophy" and adds that "it's not you who changes the system; it's the system that will eventually change you," implying that those who think they can make it big in the rap world and still hold onto their original values and represent their communities nobly are greatly mistaken. The money-driven CEO's and government laws will ultimately squander any attempt of rebellion or revolution, even in hip-hop. These cynical thoughts of I.T. have stayed with him today. He is now a commonly known as a 9/11 skeptic (not conspiracy theorist) and a bitter rapper with a chip on his shoulder from his time in jail. Yet he hasn't sold out, and he remains an activist for the same social problems. 

Immortal Technique's most famous and most powerful song appears in Revolutionary Vol. 1. "Dance With the Devil" isn't Tech's greatest work because of his stellar rapping, but instead because of the potent message the song sends, easily the most powerful message of any song I've ever heard. *warning, graphic* He talks of a teenager in the Harlem streets named William. The kid always wanted to be famous and wanted to gain respect in the gangs. To prove his worthiness, he and gang-members abduct a woman in the streets at 2 am, proceed to violently beat her up and rape her on the roof of a hotel. After the deed was done, the gang members tell Billy to finish the job and kill her, but when the kid takes off the shirt that was covering the woman's face he realizes that the woman is his own mother. Billy immediately jumps off the roof of the hotel, killing himself. This is when I.T. reveals that he too was on that rooftop raping Billy's mom and saw the whole situation occur. Although the truthfulness to the song has been questioned, the emotional impact it has on anyone who listens is immeasurable. Tech likely tells the story to show kids who listen to rap that gang life can lead to horrific things and to immortalize the realities of street life into peoples' minds. In any case, the song is incredibly touching and a masterpiece in its rhythm, story-telling, and purpose. 

 

I.T. raps truth. He stays hip-hop in his beats, his style, and his honest lyrics. Whether or not you agree with his activist beliefs or his views on government and "the system," you have to respect the man for his honor to hip-hop. I strongly suggest everyone to listen to some of his music, as you might find it rather surprising in its intellectuality. 

"Cuz opening your mouth to question my validity 

Is like trying to contradict the theory of relativity"

- I.T. in "Dominant Species"

 

The End of a Minute, The Dawn of an Era: Joey Bada$$ - 1999

It's been a minute since they've seen a style with no gimmicks

-The first line of 1999

Go through your daily routine. What does it involve? You wake up, eat breakfast, drive to school, educate yourself, hang with friends a little, go home, do homework, wash, rinse repeat? 

Now, imagine say, Jay-Z's daily routine. Wake up in Brooklyn next to Beyonce, go into the office in which you manage a record label, a clothing line, and a professional basketball team. Maybe record a track, maybe talk to Kanye, Obama if it's election season. Go to the Nets game that night.

There has to be an in-between right? Well, meet Jo-Vaughn Scott.

Jo-Vaughn is just an average 17 year old attending high school, living in Brooklyn, and hanging out with friends. Only, more often, Jo-Vaughn  is known as Joey Bada$$, the teenage hip hop revivalist with a flow that seemingly only veterans know. This is shown on his first mixtape 1999, released in 2012.

Part I: "Now we got ends, but it's only the beginning"

"Summer Knights"

The first track, "Summer Knights," just scratches the surface of all facets of the album: the flow, the topic, the styles (on styles, on styles). The smooth beat mixed with jazz samples and Joey's non-stop flow sets up the following track, "Waves." Keeping with the beginning smoothness to settle in the listener, "Waves" hook-less style entrances the listener with flow that hasn't been seen in Hip Hop for years.

"For it is not faux, nor false that this kid from the north, speaks with forced supports of reinforced assaults

I'm sure by now you can assume he never lost

Unless with some form of divorce, or a corpse"

As the beat builds in the background (like a tide), a recording of Tupac Shakur (seen being one of the greatest rappers here) plays in which Tupac discusses that the "rap audience" is not actually ready to see a "real" person. Joey ends by concluding that he will "make it all happen." The smoothness continues on the third track "FromdaTomb$" featuring Chuck Strangers, a fun track exhibiting Joey's love for Brooklyn ("the home of the realest") and his incredible gift for wordplay ("I got sick of class, started making classics"). Here, the album shifts a little.

Part II: "Ain't no half steppin' 'round me, And you gotta drown a fish before you clown me"

The shift in question is from chill to trill. This is notified by the gunshot and police sirens that open the next track "Survival Tactics." Joey manages to maintain his impressive flow while adding a new swagger into the mix; a harder, more violent Joey appears in the next few tracks. On "Survival Tactics" as well as "Killuminati" (the next track), Joey focuses less on achieving goals and more on the idea of proving himself. Whether its putting other rappers down, or talking about guns, Joey is clearly trying to come harder. "Hardknocks" (video below) makes excellent use of story telling as well as keeping with the themes Joey has hit on in the previous tracks. It's easily the most serious track on the album, which should make a listener wonder if it's also the most sincere. 

"Hardknocks"

The next track, "World Domination," is a funky transition. The only "harder" subjects it deals with is Joey's supposed "domination" (which frankly, at this point in the album, doesn't seem far off course). 

"And come out imputed with fusions of Blueprints and Illmatics*

I’ve been going raw, this just how I feel rappin'

We gave y'all sur' tactics, so y'all can’t even gas us

We taught you how to be prepared but still attacking the masses"

*Joey's personal answer to a classic question

Joey shows his range within the first half of the mixtape, and he continues this in...

Part III: "It’s PE [Pro Era: Joey's crew] leaving no hope for these hoes"

"Funky Ho'$"

Joey continues the album by discussing girls. Realizing the cliche, the first line of "Pennyroyal" goes, "another love song gone wrong." He goes on to discuss how it went wrong, and ends the song by recycling a Jay-Z hook (a personal favorite, by the way), "I can't see it comin' down my eyes, so I gotta let this song cry." Apparently Joey grew a little bitter about the happenings from "Pennyroyal," judging by the hook in his next song, "Funky Ho'$:" "I don't trust these bitches they will never catch me slippin." In a sense, it seems as if all of this is getting to him. On the next track, "Daily Routine," Joey expresses some uncertainty. He talks about how dreams of athletics or music might be a little misguided, and ultimately futile in a sense. However, by the end of the song, he concludes that rapping actually makes him more confident. Joey then takes a stab at a beat produced by one of the greatest, J. Dilla. "Snakes" is laid-back acceptance of the wrong-doers (the snakes) around him, and "Don't Front" is the end of a full bounce-back by Joey. At this point, Joey has gone deep into the intense side of hip hop as well as the softer side. It is at this point that Joey returns back to his routes from Part I.

Part IV: "See God made 3 Bigs, 2 Pacs, but he only made one era: The Era"

"Righteous Minds"

Joey comes right back with arguably the best track on the album, "Righteous Minds." An untouchable flow, clever wordplay, and a catchy hook makes this track really stand out. Joey actually recycled this beat as well from the Beatnuts. The following song, "Where It'$ At" is not as strong as "Righteous;" however, it does still sport an impressive flow and another smooth J. Dilla beat. This song could be seen as the fall of the falling action in the structure of the album.
Finally, the album reaches "Suspect." An twelve minute cypher, "Suspect" rocks a verse from each member of Pro Era. Each solid verse is followed by the Era chanting the chorus. The song ends with what might be the most impressive verse on the album.

'Til the day I die, I'll be puffing lye, fuck the world, fuck it dry
Tell them government spies I won't cover my eyes
Won't cower, won't move cause I don't move like a coward

Knowledge is power and the flower of life is (s)ours

Get as high as ours, maybe you could see the towers

Scour your dirty mind and maybe you unleash the power

We all got the potential in our body and soul, probably you know

I found mines right through the pencil, started bodying flows but fuck that

This be the preview of primeval hip-hop retrieval

I hold illegal like I'm copping, so weasels to squeal

This one for my people, headed to the top, no redo

Thinking up evil but see no evil just be knievel

I ain't ask to be this good, they just made me better

They told me cheese at the cams and they made me cheddar

And the green only made me clever

See God made three Bigs, two Pacs, but he only made one Era

The era

Overall, Joey Bada$$' freshman showing is just straight up impressive. An old school flow, a notable range, and an ultimate consistency make 1999 a truly special album. All of which is made more special when a listener stops to think, "Oh, he's 17." It has been a minute since a style has been seen successful without any gimmicks, and that 60 seconds is up.

Blu and Exile: Below The Heavens

There are few artist that have made an appearance into the Rap game so monumentally profound as Blu and Exile's Below The Heavens. Both hailing from SoCal, this duo came in contact after the years that Blu spent as a hype man for Exile's group Emanon. Growing up in the West coast and with a Reverend as a father, Blu was largely influenced by gospel as well as the early gansta rap that enveloped LA, but as he grew older his larger influences became East coast icons like Common and Mos Def. He mentions a major turning point in how he viewed Hip Hop and how he approached writing when he first heard "I Used to Love H.e.r." by Common. The prose, flow and story telling fashion that was so evident in the most of these East Coast emcees revolutionized Blu's view of his relationship with the pen; he now was to use it as an extension of himself, divulging his deepest woes unto the listeners ears.



Below The Heavens is a masterful example of Blu's efforts to convey his most intimate feeling to the crowd. Blu gets so personal that you have no choice but to relate to what he speaks. An almost perfectly flowing album, except for one song "Juice and Drank", Exile provides a smooth production with a combination of soulful beats matched with a hard hitting snare. (Below is all of Exiles samples; They include samples from Joni Mitchell, Smokey Robinson, Johnny Mathis as well as several from Nas, to which whom Blu has been often compared to or titled as our modern day reincarnation of someone of a parallel lyrical potency).

Blu's style perfectly syncs with Exiles productions; though he touches on topics from living on his own, the struggle of the inner city, teen pregnancy and parenthood, heaven and hell, his low income and how that affects his relationships with women, he does so in a mature and observant manner. The soulful samples resemble his deep topics, yet his flow and prose are as hard hitting as the snare itself.
Blu seeks to tear down the confines that the rap industry has set up, he constantly alludes to his lack of wealth yet he remains rich in vocabulary like in his song "First things First". 

 Women be mentioning ya' whips and your chains
So i flip it like slaves come with whips and chains, we gotta liberate
But before i could mention my name
They be talking to the nigga with the keys to the range
And i cant even compete with these ballers trying to get at you
Cuz i aint even got enough cheese to try to match dude
Nor do i got a flat to bring you back to
But, i can roll up a blunt and try to relax you

He doesnt try to shroud the fact that he has no money, he openly accepts it as a reality of life; in this he sets himself apart from most artist trying to make a name for themselves. He spits about his lack of but not his aims to increase his money, he chooses instead to dedicate his time on the track to speaking on subject that affect or have affected him or those closest to him in growing. He knows women don't exactly look for that yet his focus isnt to get women, he doesn't 'bust rhymes to bust nuts, [he] bust over beat breaks.'

One of the songs that most display Blu's intimacy on the mic and beautifully add his element of growth is "Show me the Good Life". He imagines life if he were to have an unexpected child at his age of 22. Having grown up in the inner city, Blu undoubtedly knew many people that suffered through this harsh reality, and in his song he aims to place himself in their shoes.

I got dreams i aint reach yet, ends that aint meet yet
And when it comes to being a man, shit im barely getting my feet wet
Trying to hit reset, knee deep in debt
Trying to figure how you feed a mouth that aint got teeth yet
How the hell am i gonna show a child to be man
When im twenty two without a clue on how to take a stand
Against the system when its just us
Wanna show him justice, but last year i was just in cuffs
The fuck am i supposed to do when he's telling me dad i need some food
Im looking down at my stomach and mines is rumbling too

And later he goes on to say: 

Fuck jewels I think my soul glows bright enough
And fuck whips I learn more when I ride the bus
And fuck it’s bad enough that we fight for bucks
And fuck hoes cause in the end I need a wife to love
Plus heaven is the life for us so God...

He constantly denounces the fact that he needs money, his only concern is learning and improving upon his rapping. though this may not seem like a plausible life plan, his message is consistent with the rest of his album. This is what he ultimately wants; his dreams may not equate his reality but the fact is that he is more fervently pursuing his ambition and speaks of it with such eloquence that when it reaches the ears of the listeners, we have no choice but to sit back and admire.

His vivid imagery is unparalleled by most up and comers. He has a level of ease on the mic that only veterans posses; for that reason is his debut album so widely renown and placed amongst some of the greatest Hip Hop Albums ever made.

How J-5 Gets Along

    Eye contact, listening, rhythm, harmony, and a positive attitude is how Jurassic 5 (J-5) gets along. In the first song of their album Quality Control, they let us know that these five elements are the essence of how they get along and get their word out. J-5 sees hip hop and rapping in a different way than most other commercial rappers and MCs that we see today. They advocate different values like religion, peace, unity, dedication, and perseverance. They represent the past to emphasize these values throughout there rhymes. For me, I see J-5 as a rebellion against the rebellion. They don't espouse the anti-establishment values of other hip-hop artists. Instead they support the values I mentioned above. They advocate intellectualism. They identify themselves as scholar warriors. 

   In there title song for the album, Quality Control, they really show the listener how much they are trying to stray away from the average rappers. They aren't trying to show off, even though they may out-smart other rappers with there poetic rhymes and references to literature. In this song they shout out to a number of writers, films and religions. They site Hemmingway's novel For Whom The Bell Tolls, as well as Sun Tzu's Art of War, Kevin Costner's movie Field of Dreams, and religion. I believe religion and unity of race plays a large role in J-5's music. They don't want to single anyone out or cut any one down, they want their music to speak to everyone everywhere. They aren't going to rap about things people don't care about, their words denote materialism and promote education. Saying things like, "fuck yo Lexus" and "perfect verbal architecture, sparking lectures," they want to make sure you realize what they are talking about and that they aren't bragging about anything. Some might say, J-5 raps about 'what it is' instead of other rappers rapping about 'what they are' and how they drive fancy cars and are like movies stars. Jurassic 5, they don't want to be stars. If you don't believe me, listen to their song Lausd

"Yo, we are no superstars

Who wanna be large and forget who we are

Don't judge us by bank accounts and big cars

No matter how bright we shine we're far from being stars

Cause stars fall, and disintigrate before they hit the

Asfalt, they incinerate cause we came

Not to destroy the law but to fulfill

For those who appreciate those with skills

And fresh windmills, and graf that kills

What is a DJ without the scratch to build?

Without the elements, it's all irrelevant

Niggas love to Freestyle but hate to Fellowship"

It's clear that fame and fortune aren't important to Jurassic 5 so they tell you that. They don't want to be superstars, they are far from it. "Stars fall" and they won't so they can't be one, and that's lucky for them because they don't to be. This song is also a great example of J-5's tone and groove they have beneath their rhymes. Thanks to Dj Nu-Mark, the listener has accompanied with Jurassic 5 lyricists an amazing compalation of samples and groovy bass lines to keep the listener engaged with the words. For example just in the 10-12 lines a posted above we've got an audible soundtrack that goes along with the lyrics. Like when the crew talks about "Graf that kills" we hear the shake and spray of a paint can and on the next line we hear the scratch of Dj Nu-Mark as the five asks what a DJ would be without it. And its true, with out that "scratch to build" the music is left alone with out the groove that the DJ applies to the sound. 

    Jurassic 5 is the rebellion against the rebellion. They know whats good and whats not and are proud to preach it. They aren't trying to be "macho males who rap about beers" they would prefer to show you their intelligence and what they think about the world and how to unify it. I personally love their music, and hope you do too.