The residue: B.o.B

This piece on B.o.B was published in the April 28 issue of the San Francisco Bay Guardian.

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The residue

B.o.B and an era of hip-hop that’s pop, pop, and more pop

“Drug boys steady shooting. The streets don’t give a damn. They’re filled with such pollution,” sings B.o.B on “Kids,” an interpolation of the coda from Vampire Weekend’s self-titled indie-pop gem. “The kids don’t stand a chance.”

But does B.o.B stand a chance? The Adventures of Bobby Ray is pop, pop and more pop, embracing the current electro-pop-with-a-hip-hop-attitude zeitgeist with a smothering squeeze. If Kid Cudi took notes from Kanye’s 808 and Heartbreak on his intermittently fascinating Man on the Moon: End of Day; then B.o.B seems to channel Lupe Fiasco’s The Cool, with a dollop of Gym Class Heroes and Fall Out Boy thrown in.

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Ninjasonik, “Art School Girls”

Ninjasonik, Art School Girls
Green Owl/Chief Records

This full-length from a trio of Brooklyn smart-asses is a puzzling conceit of hipster in-jokes. Ninjasonik is undoubtedly the Art School Girls in the title, flipping through cool indie styles like a wardrobe of vintage clothes. Get past the pretension, and some of the songs aren’t bad, particularly the thumping hip-house jams “Picture Party” and “Stir,” and the stuttering electro of “All My Friends.” “I don’t care about who you are and what you wear/I just want to party and forget all my cares,” raps Telli on the latter before sarcastically adding, “All my friends are in bands.”

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Masta Killa, “Live”

Masta Killa, Live
Gold Dust Media

Masta Killa has quietly carved out a fine solo career independent of his Wu-Tang Clan brothers, issuing modest gems like 2004’s No Said Date. On Live, the New York rapper “keeps it classical like Yo-Yo Ma” for a collection of live performances, delivering energetic solo highlights like “School” and “Silverbacks” as well as standout guest verses for “Duel of the Iron Mic” and “Da Mystery of Chessboxin’.” GZA, Inspectah Deck and others show up in support of this talented and highly underrated MC.

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Inspectah Deck, “Manifesto”

Inspectah Deck, Manifesto
Traffic Entertainment

Inspectah Deck has dropped many classic verses and hooks for his Wu-Tang team, from “C.R.E.A.M.” to “Hollow Bones.” But unlike Ghostface Killah and Method Man, he never evolved into a compelling solo artist. Inspectah Deck’s latest attempt, the flat-footed Manifesto, doesn’t have much to recommend other than several high-profile guests, including Raekwon (“The Big Game”), Termanology and Planet Asia (“Serious Rappin’”), Cormega (“Born Survivor”) and Kurupt and Billy Danze (“Gotta Bang”); and a decent track or two (“Do What U Gotta”).

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Marco Polo & Ruste Juxx, “The eXXecution”

Marco Polo & Ruste Juxx, The eXXecution
Duck Down Records

Canadian producer Marco Polo knows how to cajole strong performances out of recalcitrant thug rappers. For Ruste Juxx, the star of The eXXecution, he lays down a template of grimy loops, setting the background for Juxx’s growls and barks. Juxx knows how to flow, and doesn’t get in Marco Polo’s way. However, he doesn’t add much lyrical flavor, either. It only takes a few seconds of a hilarious Sean Price cameo – “F*ck all that dis rap sh*t, n*gga/When I see you, wings on your back” – to highlight what’s missing from The eXXecution.

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Flobots, “Survival Story”

Flobots, Survival Story
Universal Republic

If you’re looking for another “Handlebars,” the insanely catchy anti-imperialist anthem that put Denver, Colo. rap band Flobots on the map, then you won’t find it here. If anything from Survival Story emerges as a radio hit, it’ll be a dense political tract like “The Effect,” a call to activism, or “White Flag Warrior.” Jonny 5 and Brer Rabbit are more polemicists than MCs, but they drive the band’s rap-rock grooves forward, and Mackenzie Roberts’ viola adds an element of drama. Survival Story is an energetic workout, even if Flobots haven’t mastered the art of songcraft yet.

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Dessa, “A Badly Broken Code”

Dessa, A Badly Broken Code
Doomtree

Like many spoken-word artists turned rappers, Dessa makes music that can’t be easily pegged as hip hop. Instead, A Badly Broken Code has a wintry, quiet tone reminiscent of mid-90s trip-hop, and she spends more time spinning free verse in a sing-song voice than flipping rhymes. (“Crew,” a tribute to her Doomtree crew, is a notable exception.) Her songs, mostly about friendships, romance and introspection can seem precious at times, but she has a wry sensibility that keeps them from becoming self-indulgent. A Badly Broken Code isn’t an album to listen to while washing the dishes, but if you have an hour to spare, Dessa can entertain you with a few personal stories.

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Get ready for more short cuts

Starting today, I’ll post some of my Rhapsody reviews on Plug One. I’m a little wary of doing this because these reviews tend to be more “service-friendly” than my usual work. At best, however, they cut to the chase and give you a sense of what an album’s like, and what to expect if you listen to it. I like the short format, too — only 100 words at most. I can’t imagine how other blogs will write thousands of words on a minor recording, breaking down each track with a description, and regurgitating an artist’s entire life in the process.

Of course, some albums deserve that kind of deep analysis, which is why I’m not posting Rhapsody reviews for major 2010 works like Madlib, B.o.B, et cetera. I plan to write original pieces for those soon (keep your fingers crossed).

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Number 1000

I’ve finally reached my 1000th post, and it damn sure wasn’t easy. I’ve already detailed at length the various problems I’ve had in building Plug One, so I won’t rehash them here. Given all that’s happened (or rather, hasn’t happened), hitting the 1000 milestone brings a sigh of relief.

More excuses … I was going to write a special post about Guru, but got waylaid by the usual combination of freelance deadlines and writer’s block. So let’s table that for now and push forward on new topics, new ideas.

By the way, thank you to everyone who has continued to visit Plug One as I rebuild the site. Your patience will be rewarded.

I live in the yellow house.

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R.I.P. Keith “Guru” Elam

I wrote this tribute to Guru for my weekly Rhapsody column, Rap is Not Pop. It was posted posted earlier today on the Rhapsody Music Stuff Place blog and its new Rhapsody Hip-Hop Blog.

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Rap Is Not Pop: R.I.P. Keith “Guru” Elam

Keith “Guru” Elam passed away last night, April 19, at the age of 43 from cancer-related illnesses. Many of his fans, including myself, hoped he would recover after surviving a coma scare in February. Alas, it was not to be.

Guru — an acronym for Gifted Unlimited Rhymes Universal — was one of the best MCs to emerge from the late 80s hip-hop renaissance, a period when the fledgling genre found its form and voice. First known as Keithy E from Boston, he debuted with Gang Starr’s 1987 12-inch single, “The Lesson.” Though merely a tentative first step, it revealed what would become Guru’s lifelong goal: bringing black intellectualism and philosophy back to the streets. Two years later, after Keithy E became Guru, broke with founding Gang Starr producer DJ Mike “1 2 B Down” Dee and brought in Chris “DJ Premier” Martin, his mission to spread “knowledge of self” to B-boys everywhere yielded his first classic: “Words I Manifest.”

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The Plug One 2000s: Mike Ladd, “Welcome To The Afterfuture”

98. Mike Ladd, Welcome to the Afterfuture
Ozone Music
Released January 13, 2000

Welcome to the Afterfuture sounds like a relic of 90s pre-millennial tension and the culture wars of Giuliani-era New York (before Bloomberg-ian gentrification schemes and hipster-dom permanently changed it). But it’s still a fascinating listen. While most Nuyorican Poets Café alumni (with the exception of Saul Williams) never made compelling records, Ladd knows when to tamp down his verbal stridency and let the music breathe. His sharp use of Bollywood samples on “Airwave Hysteria” predates Dr. Dre and Timbaland’s kitsch-y appropriations. And Welcome to the Afterfuture’s portrait of a cluttered, media-saturated future through “Bladerunners” (which boasts an appearance by Company Flow) and “5000 Miles West of the Future” resonates.

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An interview with Murs

Two weeks ago, Murs and I spoke for a half hour for Rhapsody. It was part of a promotional push for his new album with 9th Wonder, Fornever. I posted the interview on Tuesday, April 13, the same day that Fornever was released. However, Rhapsody limits its posts to 1000 words, so I didn’t have space to include much of our conversation.

Below you’ll find an extended transcript. Much of the material falls under “inside baseball,” meaning that we discussed various subjects from an industry perspective. I love that kind of stuff, but you might not. Topics included his recent split with Warner Bros.; his annual Paid Dues Festival, which he organizes with Guerrilla Union; the recent controversy surrounding his comments on the lack of women at Guerrilla Union’s Rock the Bells festival; and, of course, Fornever. In fact, we got too sidetracked — I only had a half-hour — and I didn’t ask enough questions about his music.

I did some light editing to the transcript, but tried to limit my deletions to repetitive sentences, sentence fragments, et cetera. When I put a (?) in parentheses, it means that I wasn’t sure what he was referring to. For example, when he mentioned he dated porn star Jenna Foxx, I added a (?) because I may have misheard her name. I also added some brackets to clarify subjects we talked about: When he says, “I told my rep,” I added a bracket so it reads, “I told my [A&R] rep.”

One thing I should point out: When Murs says he has been criticized for speaking about the lack of women at Rock the Bells, he’s referring to a short YouTube video posted last September. In the clip, he tried to explain why there were no women on the bill, and some people claimed he demeaned female rap artists in the process. The video is still active on Okayplayer.com. Watch it for yourself and reach your own conclusions.

I’ve known Murs for close to a decade, so it was nice to catch up with him. One of these days I’ll see what Paid Dues is all about.

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The Plug One 2000s: 2Mex, “B Boys In Occupied Mexico”

99. 2Mex, B Boys in Occupied Mexico
Mean Street Records
Released October 9, 2001

Alex “2Mex” Ocana’s career dates back to the mid 90s, and sprawls over dozens of tour-only CD-Rs, side projects (including now-defunct supergroup the Visionaries) and poorly-distributed albums, including his best album, B Boys in Occupied Mexico. As one song goes, it’s “Humble is the Style of the Day.” It’s modest yet warmly human: 2Mex rues “I didn’t mean to touch your hand/I didn’t realize I was so grotesque,” then a few numbers later offers “The Believe in Yourself Song.” Not quite emo-rap (though Spin would claim 2Mex as part of that tribe in an infamous article), it gives a vivid portrait of a Latin B-boy in Los Angeles that rips punchy lyrics and “percussion precaution” over Omid’s break beats. “I am the stone in the sun,” he says on “Offering.” “I am the poem in your lungs.”

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The Plug One 2000s: 9th Wonder, “God’s Stepson”

100. 9th Wonder, God’s Stepson
HipHopSite.com
Released March 2003

9th Wonder inadvertently pioneered the album remix when online retailer Hiphopsite.com obtained a cappella recordings of Nas’ albums, and sought out three producers to rework them with original music. He was the first in the series (Soul Supreme’s Soulmatic and MF Doom’s Nastradoomus would follow), and he chose God’s Son. The resulting God’s Stepson spoke to the creative possibilities of reworking albums from beginning to end, as Ninth honed honing a widely-duplicated approach to soul loops that mirrored Pete Rock’s sounds in their lush, hymnal power. His production sounds sun dazed, turning tracks like Nas’ victorious “Made You Look” salvo against Jay-Z into an unexpectedly wistful rumination. Few have exploited the now de rigeur mashup trend with such grace.

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Why Duck Down matters: Duck Down’s 15th anniversary

This essay on Duck Down Records’ 15th anniversary was posted April 9 on the Rhapsody Music Stuff Place blog and its new Rhapsody Hip-Hop Blog. I have a weekly column called Rap is Not Pop.

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Rap is Not Pop: Why Duck Down Matters

Duck Down Records, which celebrates its 15th anniversary this year, may be the last of the great New York throwbacks. Its flagship group, Boot Camp Clik, came of age during the “Stakes Is High” era of hip-hop, those years before the Notorious B.I.G.’s Life After Death and Diddy’s No Way Out introduced a set of conspicuously materialistic values that changed the culture forever. (Some grumpy old heads would argue that they “killed” hip-hop.) Shortly after came the underground scene’s rise and fall; a shift in the universe from the Rotten Apple to the Dirty South; and a current split between D-boy/street values and alternative/pop dreams.

Every independent rap label has struggled in recent years, and few from that halcyon ’90s period have survived. (Stones Throw is a notable exception; more on them later.) For Boot Camp Clik, the course has been particularly torturous. Being known for street rap classics such as Black Moon’s Enta Da Stage and Smif-N-Wessun’s Dah Shinin’ can serve as a unique kind of weight; it’s what fans love and expect from them, even if that era of bleedy-eyed rhymes and casual lyrical violence has passed. But Duck Down has managed to satiate its hardcore following and look forward to the future.

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Until then…

Don’t worry, I’m still here. But since I’ve promised to stop wasting time on release date press releases and concert listings, I won’t be updating my site unless I’ve actually got something interesting to write (or re-publish). Stay tuned.

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VH1 Soul is dead, long live Centric

Today, the lovely folks at MTV/Viacom removed VH1 Soul from Comcast’s programming slate in my area. Instead, there is a new Viacom channel called Centric.

What is Centric? “What we’re creating is a brand-new network targeted to adult, upscale, sophisticated and aspirational African-American and multicultural audiences,” said BETN president and COO Scott Mills in a Billboard story from April 2009. “We think we have a unique way of serving that demo that no one else can in the space.” However, the story also claims, “Both BET J and VH1 Soul will continue as stand alone channels in addition to Centric’s programming.” That doesn’t seem to be the case.

There’s been a fair amount of online angst about the disappearance of VH1 Soul, which is slowly being removed from cable programming slates across the country. Afrobella, a popular blog run by my former colleague Patrice Elizabeth Grell Yursik, wrote in January, “If VH1 cancels VH1 Soul, that speaks volumes about what the network is going for. It would indicate that they’d rather support more pseudo celebrities and invest in the lowest class of reality television, than continue to offer fans a channel of music that uplifts and enlightens.” She, along with several other bloggers have directed readers to a petition demanding that Viacom “save VH1 Soul!”

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Tigallo vs. Ninth

Next up on Hip-Hop Smackdown: 9th Wonder vs. Phonte Coleman.

Isn’t it interesting when rappers start beefing with other rappers, catching weapons/drugs/robbery charges, and dating R&B singers just months before their albums are released? It seems like this is the indie-rap version.

The controversy stems from “Star,” an old Little Brother track recorded while 9th Wonder was still in the group. Remaining members Phonte and Big Pooh planned to package it on the iTunes version of the group’s upcoming album, Leftback, which drops April 20. According to Phonte, 9th Wonder’s management team blocked LB’s Hall of Justus imprint and its distributor, Traffic Entertainment Group from selling the track. So Phonte leaked “Star” via Twitter.

From Phonte’s Twitter page:

Aiight folks, backstory on Star:

This was recorded back in ’05-06 at Young Guru’s crib sometime after the release of Minstrel Show.

This was intended for Leftback as an iTunes bonus track but we just got word today that @9thwondermusic doesn’t want us to use it for whatever reason, and that’s fine.

In any event, I’m not gonna let anything or anybody stop me from getting music to my fans. Fuck that.

Enjoy. And as always, thank you for listening

When 2dopeboyz.okayplayer.com posted the track and the explanation, the following appeared on 9th Wonder’s Twitter page:

@NexPerSanus let people talk bro….only if they knew the REAL story.. about 22 hours ago via web in reply to NexPerSanus

Well, tell your side of it or shut the fuck up. RT @9thWonderMusic: let people talk bro….only if they knew the REAL story.. about 20 hours ago via UberTwitter

@phontigallo you are NOT a tough guy…….none of us is…so KILL that noise….. about 20 hours ago via web in reply to phontigallo

@phontigallo and niggas aint shuttin up about 20 hours ago via web in reply to phontigallo

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Endless Hookup: The Hood Internet

From now on, I’ll re-post my articles from other outlets on Plug One. These will be stories that are relevant to the site and achieve a certain level of quality (in my opinion).

This piece on the Hood Internet was published in the March 24 issue of the San Francisco Bay Guardian.

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Endless hookup

Away from the turntable and into the pop skips-and-jumps of the Hood Internet

Where are the turntablist masters of yore? They’ve gone missing, replaced by the likes of the Hood Internet.

It’s true. The art of the hip-hop mix, once protected by the Skratch Piklz and the X-Men (a.k.a. X-ecutioners) and the Beat Junkies and Triple Threat, has returned to the province of the sound editors, just like in the early 1980s. The problem was the turntable itself. A painful lesson of the ugly aughts was to never trust technology. Hardware emerges, changes, and is destroyed according to consumerist tastes. The alchemical idea may be subject to manipulation by the likes of Steve Jobs, Rupert Murdoch, and Eric Schmidt, but it is eternal in its adaptability to any mechanical form.

So while scratch DJs take to message boards and cry over Panasonic allegedly discontinuing its Technics 1200 line (which turned out be a false rumor), rockists and electronic heads open their laptops, launch Serato and Reason software, and get to mixing. It’s not like those turntable masters aren’t missed, though. While they spun and cut soul, funk, and hip-hop with finely nuanced techniques, like 16th century woodblock cutters, the new editors and mashup artists skip stones across genres, leaving small ripples of pop delight that quickly dissipate.

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Jun “Nujabes” Seba, 1974-2010

In the midst of my Hamlet-like soliloquy I neglected to note that Jun “Nujabes” Seba died last month from injuries related to a car accident.

The Japanese producer made over a decade’s worth of downtempo and instrumental hip-hop. My familiarity with Nujabes is limited to his work in the early 00s, when he created several remixes for Five Deez, and collaborated with Japanese emigre Shing02 on a series of 12-inch singles named “Luv(sic).” But he’s best known in the States for creating the opening theme to the Adult Swim cult classic Samurai Champloo.

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