shadows, black and white truly adds depth to the complexity of these photos. what format media used?
yush

Maybe like two years ago I was going to B&H and as I walked in, I saw this dude walk out. I thought to myself, "that was D-Nice", and then I began to think about the TR-808. At any rate, I always wondered what your photography looked like. So, I'm pleased to finally see your vision, naaimean? Great website, great photos! Keep up the great work. If you've never seen it, check out, www.urbanvoyeur.com for inspiration. PEACE.
-cb

This photo is something I'll never forget.

Will the Real Hip-Hoppas Please Stand Up?

Written by Jacqueline Williams for Writing 122 class March, 2003-still very much applicable, if you ask me:)

“Art is not a mirror held up to reality but a hammer with which to shape it.”---Bertolt Brecht.

Is there really anyone who says that Hip-hop doesn’t need to purify its image? I can’t readily find anyone who disagrees that the American subculture of Hip-hop has some serious internal struggles. Sadly, when in juxtaposition with mainstream American culture, these struggles seem to become marketing tools. As of late, the theme of controversy that reigns over rap music is the genre’s most reliable promoter. However, it wasn’t always this way, nor do diehard Hip-hoppas want that to become the norm.
In the early 1970’s a generation of unguided, voiceless young people created relatively inexpensive ways of expression. DJ Kool Herc introduced the famous Jamaican-influenced breakbeat style of mixing records. Later, Grandmaster Flash piggybacked on the idea and started cutting and scratching, adding a new element to DJ’ing. When people began reciting lyrics over these popular beats, they were called emcees (rappers). Others began freestyle dancing, and break dancing was invented. In the spirit of the times, artists without canvases began “tagging” or “bombing” train cars and walls with illustrations, (usually illegal) documentation of current events.
When Kurtis Blow signed the first major record deal with Mercury records in 1980, nobody anticipated that two decades later Hip-hop would be a multi-billion dollar industry. Absolutely no one could have predicted its popularity would lead to the creation of countless independent labels and new categories at the Grammy awards, and encapsulate the blueprint for much of urban life. Unfortunately, that would haphazardly include the bad with the good.
The “new-school” of Hip-hop is foreign to implicit “old-school” values. Could it be that because the pioneers of rap music—the emcees, deejays, break dancers, graffiti artists, b-boys and girls—had no moral vision for their favorite pastime or an expectation it would become a respected art form, and entire lifestyle for generations to come? This is, in fact the case. (author’s note: Maybe that’s why old school styles are making a comeback. Possibly a form of education.)
So, it seems the anger and rebellion that is at the root of the genre has prevailed; however the integrity and respect for the aforementioned basic artistic fundamentals of Hip-hop have long since been abandoned for commercialism. Rapper wasn’t always synonymous with thug or gangsta. Women weren’t always referred to as bitches and hoes. We were once flyy, ‘round the way girls. We had love for each other and ourselves.
Hip-hop’s internal battles are nothing new. Battling is part of the culture, e.g., the dozens, LL Cool J vs. Kool Moe D, DJ battles, etc. But with many artists unable to distinguish between reality and their recordings, it’s no wonder that it becomes difficult for listeners and fans to know where the person ends and the persona begins.
In the place of songs for modest price, there are now also clothing lines, best-selling books, comedians, athletes, sitcoms, and feature length films. This is great for economic development in our community if in the hands of responsible Hip-hoppas, but bad for the consumers if the messages portrayed are reckless. An example of reckless money-making is the movie Friday, written and directed by entertainment industry mogul Ice Cube, in which the central theme of the movie is smoking weed. Personally, I love the movie, however, Ice Cube does not smoke weed in real life. Other misrepresentations are emcees that act like pimps and players on their songs, but go home to their wives and children after recording projects that will have mass appeal to an already morally challenged audience. People like Dr. C. Delores Tucker do actually want to blame rap for societal ills, but that is not always seen as being proactive. The idea here is not to bash these artists. But to hold them and their corporate backers accountable for the mainly apathetic images they emit which help to shape the fabric of our daily lives (NCBW 1).
Yes, rap is a voice for the voiceless, but, rappers watch what you say. All of what’s being said is not an accurate account of what’s going on in the ‘hood. More people do need to take a stand for making sure the truth gets across and not just rhyming about things that are integral to a people’s demise: stop reinforcing smut and validating genocide!
Simultaneously, however, there has been a strong grassroots movement to the contrary. Numerous people in the industry realize that the power of music isn’t always represented by record sales. While any financially successful businessperson in the Hip-hop industry will tell you that s/he has sold a part of her/his soul in order to reach mainstream, they will likely tell you that without doing so, they would still be poor, struggling artists with no radio or television exposure.
But the struggle is deeper than that. One reason the late Tupac Shakur is still one of the most powerful voices Hip-hop ever heard is that he bridged the gap between Hip-hop and the deep-rooted “Revolutionary forces that have in the past, and continue to work uncompromisingly in the resistance against our repression…these forces were targeted and became victims of Cointel-Pro’s agenda for destruction. These forces waged the struggle at their best, and it is important that their sacrifices be put into context.” (Shakur 2)
With reactionaries trying to pass bills to censor Hip-hop, people such as the Nation of Islam’s Minister Benjamin Muhammad realize that “what we have to do…is to be a little bit more conscious of not only the internal struggle, but the external forces that causes us sometimes to have the internal contradictions among ourselves.” (Hip-hop Under Attack” 1). At a Hip-hop Summit in 2001, Minister Louis Farrakhan asked those in attendance, “Will you accept your responsibility as a leader?” (Muwakkil 3)
Artists find it difficult to assume the role of leaders partly because of music industry executives who, according to CEO or Rocafella Records Damon Dash, “…tell you what they want to play. Radio tells you you have to make a record that fits the format. It’s not our fault.” (Hip-hop Under Attack” 7). To this, rap innovator Chuck D adds, “I could never blame it on the artist. I just think there has never been no overstructure [sic]. It’s almost like the game got no coaches, no referees…” (Hip-hop Under Attack” 10).
Whose job is it to watch over the consumption of rap music? Accountability must begin with parents of children, but it is unrealistic to make them bear all of the responsibility. The American Academy of Pediatrics says, “Awareness of, and sensitivity to, the potential impact of music lyrics by consumers, the media, and the music industry is crucial. It is in children’s best interest to listen to lyrics that are not violent, sexist, drug oriented, or antisocial.” (1219) For people who are in the business strictly for the financial benefits it is easy for them to pass off these ideals as an attack on gangsta rap. Not everyone who mentions that rappers need to clean up their messages is an advocate of censorship, but some simply want to encourage social responsibility.
Up until 1996, research was not developed enough to determine “a cause-and-effect relationship between sexually explicit or violent lyrics and adverse behavioral effects…[However] in some cases lyrics communicate potentially harmful health messages” (AAP 1219). This is something that our community can’t afford to do. Death by a firearm is the highest cause of death among our young men, and the music not only reflects that, it also seems to evoke the lifestyle.
The emergent evolution of Hip-hop has hastened the need to rectify the state of the industry that has the most influence over young people in the world. It has escalated from friendly freestyles to bitter battles, courteous competition to cutthroat court cases.
The time is way past due for representatives of Hip-hop music to take a stand on issues facing our communities, and some are. There has been enough of the misogynistic, sex, drug, and violence driven record sales being the excuse for artist irresponsibility. In the past ten years, this has become the norm.
Now that they have their foot in the door to be able to have an impact on others in their communities, some are reaching out to benefit those from which they come. Whether their goal is to buy their mother a home outside of the ‘hood, organize Hip-hop summits, or make a call of action to restore educational funds to the New York public school system, Hip-hoppas are making major power moves. (Lewis 22)
It is unfair to place insurmountable pressure on individuals because of what they may represent. But one thing is for sure; without giving the inalienable youngster proper historical perspective, we may not be able to keep the future of Hip-hop from happening to us instead of determining it.

Works Cited
American Academy of Pediatrics. “Impact of Music Lyrics and Music Videos on Children and Youth.” Pediatrics 98 (1996): 1219-1221.

“Hip-hop Under Attack.” The Source Magazine Jan. 2003: 1-14.

Lewis, Miles Marshall. “Russell Simmon’s Rap.” The Nation. (Jan 2003): 21-23.

Muwakkil, Salim. “Farrakhan and Hip-Hop: A Not-So-Odd Couple.” Chicago Tribune 25 June 2001. 4 Mar. 2003.
http://www.commondreams.org/views01/0625-05.htm.

National Congress of Black Women, Inc. Crusading Against Gangsta/Porno Rap. 2001
http://www.npcbw.org/newweb/rap.htm.

Shakur, Dr. Mutulu. “Support Today and Dare to Struggle.” Mutulushakur.com 2002. 3 Mar. 2003 http://www.mutulushakur.com/daretostruggle.html.

No disrespect but what are the candles for??