Archive for the ‘Black People’ Category

Hearing good music, in its originally composed format, makes for a great experience. But when that original composition is reinterpreted in a manner that explores and subsequently identifies additional depth in the piece, the listener finds themselves thrust into a subjective space where the sound’s melodic pleasantries are perhaps as ubiquitous as the smell of ripe fruit emanating from a NYC Produce stand on a hot summer’s day.

By far, Hip Hop has led the charge in the reinterpretation of classic music compositions; inherent to the existence of true Hip Hop DJs, Producers, and Beat Makers is the beloved activity of Crate Digging – The process of sourcing past obscure and popular music titles for the purpose of reinterpreting the original composition to make it anew. At the beginning of Hip Hop’s timeline, the infancy of this skill would be displayed by pioneering DJs [like DJ Kool Herc, DJ Hollywood, DJ Afrika Islam, DJ Grandmaster Flowers, DJ Afrika Bambaataa, DJ Grandmaster Flash, DJ Grand Wizard Theodore, Kool DJ Red Alert, DJ Marley Marl, DJ Chuck Chillout, and DJ Jazzy Jay], all of whom would maintain the collective momentum and engagement of partygoers by manually extending/looping identified drum patterns from previously released classic Soul/R&B compositions. This would come to be known as the Break-Beat; the keystone and arguably most fundamental component of Hip Hop’s, Rap music. Celebrated beat and production craftsmen that have and continue to indulge in this process while making advancements to the skill include the likes of the legendary J-Dilla, DJ Pete Rock, DJ Premier, DJ Quik, Dr. Dre, No I.D., Hank and Keith Shocklee (The Bomb Squad), Q-Tip, Kanye West, Timbaland, 9th Wonder, and Just Blaze.

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But also leading the effort of this discipline is Detroit’s own, Tall Black Guy. Tall Black Guy has coined a sound and music production style [amidst the realm of Hip Hop] that is truly all his own. To attempt to contextualize the depth of his creativity in words is to be of a disservice to Tall Black Guy and the effort of explanation related to his level of musicianship. So, in traditional TCOHHL (The Chronicles of a Hip Hop Legend) Radio fashion, we’d like to formally invite you to check out the upcoming, ‘Tall Black Guy Chapter.’ This Wednesday on March 16th, TCOHHL Radio kicks it with Mo-Town’s own, T.B.G. With him, we discuss his childhood, musical influences, production style, Hip Hop culture, past/present/future projects, and a host of other topics. And the playlist you ask? Let’s just say that this will be a great opportunity for you to be introduced and/or reminded of the skill and style of our homie, Tall Black Guy.

By: D.D. Turner , Founder/Executive Producer/Host – TCOHHL (The Chronicles of a Hip Hop Legend) Radio

Twitter: @TCOHHL_Radio/@HipHops_Wizard

Instagram: @HipHops_Wizard

Mixcloud.com/TCOHHL_Radio

Chroniclesofahiphoplegend.bandcamp.com

**You know the drill! Don’t be a #Turdbird! Visit mixcloud.com/tcohhl_radio to hear the interview. And while you’re there, subscribe to our station to stay updated on our latest show releases.

Can you recall the moment when you realized that Hip Hop’s sound and look was multi-dimensional? In pondering an answer to this question, our collective recollection as Hip Hop supporters would naturally transport us back to 1988 to engage memories of the endearing Native Tongue movement (Tribe Called Quest, De La Soul, Jungle Brothers, Black Sheep, Queen Latifah, Monie Love, Kool DJ Red Alert, Chi-Ali, and the Fu-Schnickens) and such an engagement would be undeniably correct. But in 1992, Hip Hop’s music would experience an infusion to its already present and unapologetically expressed consciousness. As supporters, we’d have the good fortune of being introduced to a new sound, spirit, and aestheticism that we had yet to experience up until that point. And the provider of this experience you ask? Arrested Development and their debut release, ‘3 Years, 5 Months & 2 Days In The Life Of…

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Arrested Development is legendary. During a time when Hip Hop’s Rap music was already at its multi-dimensional peak, A.D. [Arrested Development] further pushed the music’s boundaries, thereby, creating another realm where the culture could thrive amidst the music business’s time and space construct. Arrested Development effectively reinforced the understanding that gaining and maintaining Knowledge of Self wasn’t the singular responsibility of Black culture; the duty was to also be proud of who we are while upholding an ever-present sense of integrity that is warranted by our African lineage. Additionally, through their soulfully conscious concoctions of melody, A.D. forced us to challenge popular perspective and engage individual thought and perception. After hearing ‘Mr. Wendal,’ how many of you found yourself driven by the inclination to engage a homeless person in dialogue? I did and found the conversation to be extremely enlightening and impactful. From ‘Everyday People’ to ‘Tennessee’ to ‘Revolution’ to Speech’s Hip Hop Proclamation, ‘Can U Hear Me,’ back to the positive cultural assertions that ‘Natural Hair’ imparted to some of the group’s current releases like, ‘Follow That,’ and ‘Weight (Off My Back),’ Arrested Development has always been endowed with a capability of authoring music that connects with the consciousness of humanity without sacrificing Hip Hop’s Boom-Bap signature.

This Wednesday on March 2nd, TCOHHL (The Chronicles of a Hip Hop Legend) Radio kicks it with Speech, Founder and Front-Man of the legendary Arrested Development collective. With Speech, we discuss growing up in Milwaukee and Tennessee, the formation of Arrested Development, cultural awareness, their new projects, and a host of other topics.

By: D.D. Turner , Founder/Executive Producer/Host – TCOHHL (The Chronicles of a Hip Hop Legend) Radio

Twitter: @TCOHHL_Radio/@HipHops_Wizard

Instagram: @HipHops_Wizard

Mixcloud.com/TCOHHL_Radio

Chroniclesofahiphoplegend.bandcamp.com

**You know the drill! Don’t be a #Turdbird. Visit mixcloud.com/tcohhl_radio to hear the interview on March 2nd. And while you’re there, subscribe to our station to stay updated on our latest show releases.

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Kendrick ‘K-Dot’ Lamar!

With 11 nominations, it was inevitable. But it’s no secret; Kendrick’s journey to this prestigious moment has been long, steady, and consistent. For those of us that have been fortunate enough to follow his exciting career, collectively we have bore witness to the maturation of a man; a man that overtly proclaims his love for the culture of Hip Hop while remaining aligned with its core principle of bringing awareness to social inequality and disparity. And never has he missed a step while engaging in the discipline of Emceeing.

So, to our revered and celebrated, Kendrick Lamar, The Chronicles of a Hip Hop Legend (#TCOHHL) congratulates you on your amazing accomplishment. Not only is it well deserved, it serves as a worthy testament of Hip Hop’s power and its ability to transcend cultural and socio-economic differences.

Kendrick ‘K-Dot’ Lamar, standing resolute in the shadow of the legendary, N.W.A., you are an appropriate victor.  Compton, California…Stand the f$@k up!! This is your moment.

– D.D. Turner, Purveyor of Hip Hop Culture
TCOHHL (The Chronicles of a Hip Hop Legend) Radio
@TCOHHL_Radio
mixcloud.com/tcohhl_radio

“…these are the words that I manifest. I Manifest.” – Gang Starr, Manifest (No More Mr. Nice Guy, 1989 – Wild Pitch Records/EMI Records)

Peace, Macklemore and Ryan Lewis

With sincerity, I submit this manifesto of gratitude and appreciation for your concern. More to the point and specific to this document’s intent, I thank you for your candor; your willingness to acknowledge the plight of Black people [through your dialogue invoking joint, White Privilege II] and the origination of what has proven to be an insurmountable social obstacle against the system of White Privilege. Your efforts are commendable, and brave to boot. Your public observance of what has been an issue for nearly 500 years is regarded as sincerely empathetic and not trivial, for it suggests that you understand the proper way in which to address and impart reasoning unto your cultural peers for the purpose of contextualizing the very real idea of white privilege, cultural appropriation, and cultural subjugation. However, while your song content and approach are unique and brim with quality, I’d be remiss if I failed to mention that the intent and goal aren’t. As I am sure you are aware, Hip Hop has always served as the initiate for social change, highlighting the adverse circumstances under which we were, are, and continue to be placed, per the ubiquitous nature of white privilege/supremacy.

Over the years, many of our beloved and legendary Emcees have worked to bring awareness to the problem while bolstering the richness and righteousness that is contained within us, the original man – “The maker, the owner, the cream of the planet Earth, Father of civilization, God of the Universe.” Legendary Emcees such as: KRS One – You Must Learn; PRT (Poor Righteous Teachers) – Shakiyla; X-Clan – Funkin’ Lesson; Lakim Shabazz – Black is Back; King Sun – Be Black; Big Daddy Kane – Young, Gifted, and Black ; Brand Nubians – Wake Up; Public Enemy – Fight The Power; Grandmaster Flash and The Furious Five – The Message; Fearless Four – Problems of The World Today; Gang Starr – Royalty; Black Star (Mos Def & Talib Kweli) – Brown Skin Lady; Rakim – The Mystery; Nas – I Can, and a host of others that go unnamed but are equally recognized. Unfortunately, the gracious offerings of these artists wouldn’t surpass exposure beyond cultural relevance; the exception perhaps being those White brothers and sisters that were and continue to be avid Hip Hop supporters and/or historians.

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Macklemore and Ryan, the point of the aforementioned is not to convey nor pose opposition to your song, but, to simply acknowledge those that have come before you [as you’ve most notably done on DownTown feat. Kool Moe Dee, Grandmaster Caz, and Grandmaster Melle Mel]and have leveraged the platform of Hip Hop culture as a means of effectuating social change, or in the least, spark the flame of cultural consideration amongst  White folks.

Regarding this matter, I found myself compelled to express my perspective. Not because I felt it necessary to align with the wayward backlash that you guys are being met with, but instead, to provide an articulate and respectful explanation of how we as Black folks potentially feel about your song, albeit gracious. On another note, I have to admit that I was somewhat indifferent about your career; I’d concur that your lyrical prowess is mostly enjoyable and your content/topics were interesting and sometimes even poignant but your songs never quite resonated with me. In fact, if I can be honest, I initially considered you to be just another White rapper using the benefit of implicit privilege, supremacy, carefree themes, flow patterns, suitable vocal inflections, and vocabulary to drive a career. A shift in my belief has since occurred causing me to depart from this perspective and see that in fact, White people can genuinely care about and be invested in the long-term sustainability of Black culture. The two of you have proven this through your public sincerity and gratitude for the incomparable contributions that Black culture has imparted unto the world.  You guys have possibly set the stage for change amongst White people and it is now time to execute.

Below are some recommendations of how you can further facilitate an understanding amongst your ethnic peers regarding the social dynamic between Black and White people and how it is impacted by the system of White Privilege.  Some recommended group talking points amongst White people are as follows:

  • Don’t be threatened by the assertion of Black [and Brown] Pride
  • Seek opportunities that support/reinforce empathy for the Black [and Brown] experience
  • Similarities between the Black and White racial/social experience is virtually non-existent
  • Understand that the statement, “Black Lives Matter” is not suggestive of racism or a disregard for White lives
  • Gentrification is a result of White Privilege and is a real and proven concept that forces cultural displacement
  • White flight is a result of White Privilege and is a real and proven concept that erodes the cultural diversity in a neighborhood, thereby, causing the inevitability of poverty as a result of ethnic stereotyping
  • Amongst Black people, Rioting is never a result of animalistic and/or apathetic manifestations. Instead, it is the result of hopelessness in the face of racial adversity, inequality, and injustice
  • Effectively, Black [and Brown] people can’t reasonably be regarded as racist amidst the looming shadows of systematic White Privilege/Supremacy

Again, I thank you [prospective Hip Hop Legends] for your willingness to create the basis upon which healthy dialogue regarding the issue of ethnic privilege will perhaps come to thrive. It is my hope that the perspective shared in this manifesto has merely served as additional context and has imparted suggestive instructions that look to contribute to a foundation of better understanding the Black experience.

Thank you in advance for the engagement. Looking forward to hearing back from you.

One,

D.D. Turner, Enforcer of Negritude

TCOHHL (The Chronicles of a Hip Hop Legend) Radio

@TCOHHL_Radio

mixcloud.com/tcohhl_radio

tcohhl.wordpress.com

chroniclesofahiphoplegend.bandcamp.com