Going Nowhere Fast, We’ve Reached Our Climax

Heed the signs ninja.

One of my absolute favorite songs right now is Usher’s “Climax”. For various reasons: 1) its a sadly beautiful song that most people I’ve talked think has to do with sex, which I find humorous; 2) Diplo did the beat and I’ve never heard him make something so subdued and sleek; and 3) I’m just glad to hear Usher back making quality music instead of chasing trends. Usher’s had a fairly non-monumental go of it the past few years. Culminating in him jumping on the dance-music craze and making songs where the artist doesn’t matter at all because the music is what people know. Though, I can’t front “OMG” was my sh*t. But you could have given that to David Hung and it would have been a hit.

The main reason though (aside from just being dope) is because I’ve been there. The lyrics of the song are about two people who have basically reached the apex of their relationship and are letting go because the lows kept getting in the way of the highs. And neither person wants to give in so they let go. And sometimes, that’s what you have to do.

This might go against what everybody always preaches about the ability to work through things and that being the true definition of love. And maybe it is. But the TRUTH of the matter is that sometimes, you’ve made it as far as you can as a unit. Sometimes the best relationship decision that you can make is to “love each other separately”.

Every relationship has highs and lows. We all know this. The only way to thrive in those relationships is if the highs are higher than the lows are lower. For some odd reason, people seem to have an issue with letting go though. No matter how low we’ve been, we just need one high to convince us that we can regain all of those high moments that we had. We’re all relationship crackheads. One hit of possibility can erase all impasses we see in front of us. At least temporarily. But it allows us to believe in the potential. We have to right? That’s how we even got there in the first place, the potential. But maybe, just maybe, there is a climax to certain relationships.

I think most people know if the relationship they are in can make it. Or they at least have some idea. A lot of us hold on because we don’t know how to let go so we just stick around for whatever reason hoping to be convinced in one direction or another. That’s a somber way to look at relationships, but I don’t know that its totally off. Yes, you have people who are absolutely crazy in love and thats beautiful and something to aspire towards. You also have people who KNOW they should let go but refuse to do so for whatever reason. And that’s not a man or woman thing, its a people thing. We refuse to believe what we know; that we’ve gone as far as we can with this person because we’ve gone through too much to go on, and too much to go back. You’re at a place where you are ACTUALLY at the climax of your relationship.

When you get there you either choose to stay and slide back into the negativity, or you break up, move on, and miss that person while accepting that you’ve done what you had to in order to live your life being able to breathe. For many of us, love is our air. When you’re in a relationship with somebody that you love, being with that person is like breathing. For better or worse. If that relationship ends then you can’t breathe on your own…you need a ventilator of sorts which can be family, friends, a journal, etc. But eventually you have to choose to learn to breathe without that person. And that’s the circle of life. Everybody has been there. Love can make you feel 9 feet tall or make you feel as if you’ve been beaten up with a brick.

But you learn to breath again. The world ends until it starts again. And it always starts again. The key is to realize when you need to lock in for the long haul or when you need to bail so that you two can both move on and remember, but never forget. It is totally possible to go nowhere fast in a relationship. The sooner we all realize what type of situation we’re in, the better.

Recognize the climax. It’s okay to love somebody forever. But you have to realize what that love is costing you. It could be your forever.

So, VSBers, have you ever been in a relationship where you realized it had an expiration or had reached its climax? Were you able to let go for the betterment of everybody involved? Or did you have to learn the hard way?

Do tell.

-VSB P aka THE ARSONIST aka MR. WE WERE TOGETHER, NOW WE’RE UNDONE aka GIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIRL HE A 3

Pete Rock vs. Lupe Fiasco: Out With The Old, Out With The New

If you follow Twitter and hip-hop sites over the past few days, you no doubt came across a new song by Lupe Fiasco entitled, “Around My Way (Freedom Ain’t Free)”. If you’re like me you intended to ignore it completely because you’re not a fan of Lupe at all. But apparently most lots of people like Lupe for whatever reason. I was going to ignore it but then I read the description and I noticed that Lupe rocked over a sort of refurbished version of “T.R.O.Y.” by Pete Rock and CL Smooth.

Scrrrrrrrrrrr?

Okay, let’s lay it all out. I listened to a recent (like few hours old) radio interview with Lupe Fiasco at WGCI in Chicago, where he explained that he spoke to Pete about remaking the seminally classic record beforehand. That’s nice. I don’t really feel that was necessary but its nice that Lupe felt a need to reach out and respect the elders so-to-speak to get his blessing. So let’s assume that Pete Rock gave his (unnecessary but understandable) blessing to remake the track. Lupe then enlists some producers to remake the record and then he rocks out to it.

Cool beans. He then releases the record and the Internets, who often clamor for Lupe records, go nuts. That’s where we were Monday when the joint dropped.

Then Pete Rock chimes in. I’ll just provide his entire Twitter rant for your pleasure:

No disrespect to lupe fiasco and i like him alot but TROY should be left alone. Feel so violated,the beat is next to my heart and was made. Outta anguish and pain. When it’s like that it should not be touched by no one! It’s so hard for folks to make original music, I possess that, but these dudes are scared of that and this is supposed to be HIP HOP? Man I’m a lupe fan and everything but TROY was my homie man. I think about him and Hev every fucking day!!!! Smh

Who ever Re-created that didn’t do a good job @ all. #nohate.This business can be so lame, sometimes I make beats blindfolded with one hand tied behind my back and still these cats can’t be original to. So untalented and unoriginal. Makes me feel like I’m truly the best that ever did it. Yo hev and t-Roy I love and miss da shit outta y’all. U guys have been violated with no Vaseline. So fucked up this business smmfh!!! And I don’t care who got something to say about it, kiss my.. I’m not flattered @ all. Dat shit is wack, and the producer should be ashamed of his fuckin self. Smh That record is dear to me yo fuck deez niggas!!!! I’m still Dat nigga out here believe it or don’t. Ur ignorance not mine, lame duck bullshit. I think lupe is a great artist, I’m that angry with him but it’s a major label idea. I can feel it. And y’all need to stop the childish games, I’m a fan of lupe and he is a great artist and a great person.

Alright, so that’s where we’ll start.

Full disclosure, I’m a huge Pete Rock fan. He’s probably my favorite producer of all time. And anybody who knows me knows that “T.R.O.Y.” is hands down my favorite hip-hop record of all time. I even spent $30 bucks to have the Tom Scott album that the sample came from, Honeysuckle Breeze, shipped to me from Japan. Hell, the monthly party I throw is called “Reminisce”. Point is, I’m emotionally invested in that song.

[By the way, I only feel comfortable with putting out that sample source, long considered snitching in the hip-hop world, because everybody and their grandmother has posted the original sample on sites. Even though I've seen it online in a few places one, you'll never hear me disclose the sample for Gangstarr's "Mass Appeal".]

Which is why I understand where Pete Rock is coming from. His issue isn’t that the song was made. No. His issue is that the song was remade and it…

…sucks.

The beat is little bit faster and whole lot suckier than the original. They Drake/40′d it up a bit with the filtering, which does exist on the original “T.R.O.Y.” but something about it is just off.  If you’re going to remake a track, but do it only slightly differently, and it doesn’t sound as good, you should probably just not release it. Or try again. Which I think is Pete’s point. You said you wanted to remake the joint, but you did nothing different and somehow made it worse. Either you flip it or leave it alone. Not mess it up. It’s a classic dammit. When they reminisce over you (my God) you’d be pissed too.

Of course the hiphop Internets went ham with some folks claiming Pete needed to shut the f*ck up and others claiming that Pete was right and that some joints just shouldn’t be touched because they’re too classic. And here’s my issue: both sides are right.

See, I understand where Pete is coming from but at the same time, folks remake stuff all the time and rarely does it sound as good as the original. In fact, I can only think of a few times where somebody attempted to remake something that came out as good if not better (K-Ci’s remake of LTD/Jeffery Osborne’s ”Love Ballad” comes to mind…WHAT!!! SAY SOMETHING!!!). At least they asked for your blessing. Since you gave it, at that point, you just have to accept whatever comes out. Nobody owns a loop. Nobody.

Further, I do find it somewhat (again somewhat) ironic that a person who made his entire living off of sampling would take issue with somebody doing the same, just not doing it as well as he’d like. I’m aware that Pete is one of the best to ever do it, but I’m fairly certain that there are artists that he’s sampled who weren’t happy with the final product. Especially with his later productions (which definitely fell off), if the artists even got a notice about their music being used at all. I remember reading an interview with Bob James talking about people sampling “Nautilus” and he said the only version he realy liked was RZA’s flip of it for Ghostface on “Daytona 500″. So Pete’s beef isn’t a new one, it’s just…ironic that he’s beefing about a remake of a beat that isn’t even wholly original in the first place. Hell, Tom Scott’s song “Today” is a remake of the Jefferson Airplane song of the same name from their Surrealistic Pillow album (a dope album by the way, white people drug music is way better than gangsta rap/drug music). Point is, no idea’s original. Some stuff is just good. Some stuff is just bad. But it’s all just stuff.

So while Pete has a point, its really that he just doesn’t like what they did because they just tried to recreate his beat and didn’t do a good job at it. That’s a fair point. It’s lazy and unoriginal. Which is what he said. But I have to wonder if he’s listened to much of Lupe’s catalog anyway? Lupe the rapper is phenomenal, even if I think he’s a pretentious douche. But Lupe the beat miner is pretty much on Nas levels of craptasticness. His beat selections often suck at the highest caliber of sucktitude. If there’s any reason to beef, that’s the reason. He should be mad at himself for letting somebody who sucks with the beats attempt to remake  his classic song.

Touching classic records is going to happen so all old school producers and rappers need to just let that go. In every other genre there are standards (hell they’re called standards for cripes sake) that get reinterpreted frequently. Hell, there are at LEAST three different versions of “I Heard It Through The Grapevine”. Donny Hathaway’s “A Song For You” has numerous versions even if we associate that song with him. It’s part of music. Reinterpretation happens. But it shouldn’t be noticeably worse than the original if its going to sound similar. Either make it different or just don’t f*ck it up. And Lupe f*cked it up. His lyrics? Eh, passable. I don’t care. But the beat immediately sounded off. No passion. No something. Whatever it took to make “T.R.O.Y.” special is totally missing from Lupe’s record. And that’s why I get the issue with it. But ultimately, it’s one he just needs to let go.

They reminisce Pete. They just don’t know how to do it like you did.

That’s what makes you Pete Rock. Embrace it and move on.

Community, thoughts? Reactions? How many f*cks do you give?

-VSB P aka THE ARSONIST aka MR. 4532 BEST PRODUCER OF ALL TIME aka GIIIIIIIIIIIIIIIIIIIIIIIIIIRL HE A 3

***Speaking of REMINISCE, you can now RSVP for free entry before 11pm ($10 after) for the June 2nd edition, which just so happens to be the Panama birthday jammy jam!!! If you’re in DC, make sure you come out to party with P…for free!!! And drink for free…reminiscedc.eventbrite.com. Peep the Facebook event notice here!!***

Hova Speaks, Will Hip-Hop Follow (Again)?: Will Jay-Z’s Support of Gay Marriage Help Hip-Hop Become Less Homophobic?

Although it was a forgettable song (well, forgettable sans for Pharrell’s hook) on an even more forgettable album, the video for “Excuse Me Miss” remains underrated in regards to how much of an influence it had on pop culture.

There’s a scene in it that shows Jay-Z typing on a very cumbersome and very cool looking device that was far too big to be a Motorola two-way and far two small to be a laptop. This mysterious device was the first T-Mobile Sidekick, and it’s inherent coolness combined with the coolness of Jay-Z using one made it the “it” electronic device of the year. I bought one a week after seeing the video. (And, because of T-Mobile’s draconian termination fee and contracts, I hold the dubious distinction of being the only person on Earth to own a Sidekick in 2002 and in 2009)

If you remember, at that time cell phones were getting smaller and smaller — a point parodied in this hilarious SNL skit. The Sidekick was the first phone to start the shift back to big  — leading to today’s behemoths — and Jay-Z deserves (at least) partial credit for spearheading that trend.

I’m bringing this up because, regardless of how you feel about Jay-Z the artist/former drug dealer/freemason/”business, man” you can’t deny the fact that he’s wielded a major influence on Black culture in the last 15 years. If the Sidekick story isn’t proof enough for you, think about this: Remember how cats used to spend hundreds of dollars on throwback sports jerseys; rocking them to night clubs, weddings, proms, and funerals and sh*t? Jay-Z managed to pretty much dead that trend with half of a bar .

“I don’t rock jerseys, I’m 30 plus…”

 

Now, unless you’ve been hiding in James Harden’s beard over the past week, you’ve undoubtedly heard that Jay-Z came out in support of same-sex marriage. I’m not going to spend today breaking down the apparent hypocrisy and lack of sincerity of someone who has repeatedly used the word “faggot” in his work denouncing people who oppose gay marriage. Whether this is a political move to impress (and keep) his high society friends is not my concern.

What I am concerned about, though, is whether Hov has the type of pull to change the attitude of what is arguably the only billion-dollar entity in the world where it’s not just ok to be violently homophobic, it’s encouraged: Hip-Hop. (And yes, today, in 2012, Hip-Hop/Rap is more violently and vehemently homophobic than any other major “thing” you can possibly name. Nothing else beats us it right now.)

I’d be remiss if I didn’t mention that Hova isn’t the first prominent Hip-Hop artist to start the homophobia is bad train. Both KRS-One and Chuck D have spoken out against it, and Drake’s entire career seems to be a pro-gay PSA. Eminem’s Grammy performance with Elton John still remains the awkwardest five minutes of TV I’ve ever seen.

Also, Jay’s protege has done more to spearhead this current era of skinny-jeaned Hip-Hop androgyny we live in than any other person, and the most popular female rapper ever has cultivated a persona that’s somehow asexual, bisexual, and hyperheterosexual all at the same time.

Basically, while I won’t go as far as to say that hip-hop was already becoming more gay friendly before Jay-Z’s statement, it does seem like it’s been progressively less antagonistic towards homosexuality. Will Jay-Z’s considerable voice and presence be enough to help hip-hop evolve past accepted homophobia? I don’t know. I do know that the fact that I’m somehow still tied into my T-Mobile contract means I wouldn’t bet against it happening.

—Damon Young (aka “The Champ”)

Is This What Growed Up Feels Like?

The only NWA I can get with nowadays! Take that Dr. Dre!

Personal growth is a motherlover. Especially when you don’t see it coming. And in some ways it can make you ashamed of who you were just hours before. Or make you call into question decisions you made that led to you making it to the point where you could realize growth that you now have hours later that you didn’t have hours before you experienced said growth.

TCBY.

What am I talking about? Glad you asked.

The other day I was rollin’ in my ’64. Actually it’s an ’07 but who’s counting. Well except for me. Moving on. So I was rolling down the street smoking indo, sippin’ on gin and juice (none of that is true either). As of late my favorite thing to do is pick a Pandora station and kill the battery on my iPhone. Usually its set to either the Patrice Rushen station or the David Axelrod station. Well this fine day, I decided to roll down my windows and blast some of that good ole ignant music I love so much. So I punched in three letters that are world famous:

N.

W.

A.

One of my favorite albums of all time is EFIL4ZAGGIN. Dr. Dre was at his producerial essence on this album and despite its themes (put a pin in that, we’ll get back to this shortly) its a hip-hop masterpiece of beats, rhymes, and life and is sonic perfection. So anyway, I punch in NWA and Eazy E’s “Boyz N Tha Hood” comes on. Okay. Dopeboy anthems have always been one of my favorites and especially since I’m a West Coast music head, there wasn’t much better.

Then it happened.

“Just Don’t Bite It (She Swallowed It)” came on.

Oh. My. God.

Dude, this has to be at LEAST one of the 5 MOST ignorant songs in hip-hop history. Ever. Hell, so is “Automobile” off the same album. Actually so is “Find ‘em, F*ck ‘em, and Flee” on that same album. You know what, f*ck it, EFIL4ZAGGIN is one of the most ignorant pieces of art ever created and sold in commercial outlets. Like seriously…gotd*amn. As I listened to this song (and I know the words by heart) I almost felt ashamed of myself.

Actually, I did feel ashamed of myself. In that one song is rape, statutory rape, complete and utter disregard for women, rampant and blatant misogyny, etc etc etc. Honestly, I kind of wondered how ANYBODY could make a song like that and then say to themselves, “wow, this sh*t is dope.” Dumbfounded. I’m the blast my music loud type of mofo. I turned my stereo ALL the way down as I listened and thought about what I was listening to. I don’t know if it’s because I’m a father to a daughter now or what, but man…

…WHO DOES THAT???

Randomly: I’m not from the West Coast, but it seems like a common theme in nearly ALL early 90s West Coast hiphop involved running trains on women. Um, what the hell is wrong with ninjas in Cali??? Even Ice Cube, arguably the more sensible one of NWA, and the only one to give any of their music any type of substantive element was full of statutory rape and just outright violent disregard for women. I’m not gonna say that it was a West Coast thing, it has been a hip-hop thing, but the abject clarity spoken on those songs is almost disturbing at times.

And I realize that in the hood, things happen. A lot of women involved are willing participants. But who the hell commits sh*t like that to immortality via master recordings? I suppose the same goes with the violent, murder murder murder stuff too.

Obviously, this was is all very conflicting for me because I’m a hip-hop head to the heart. But some of that sh*t just crossed/crosses the line and I’m really curious as to how ANYBODY could make that music. Like, if I could interview MC Ren right now, I’d say, “Ren take me through your thought process when you wrote the lyrics for “Just Don’t Bite It 2 (She Swallowed It)”. Does any of it strike you as not right?”

I’m trying not to chastise my beloved hip-hop and it’s not like I’m going to stop listening to it, but listening to that song shamed the motherf*ck out of me because I couldn’t believe that I used to love it H.E.R. and also that somebody actually made that…somebody with a mama. Maybe this is what growing up starts to feel like. Maybe I already did seeing as how I haven’t listened to anything N.W.A. related in years at this point, partially for this reason and because I have a daughter that I have to raise to love herself.

But egads man…what a lesson. So I wonder, good folks out there, have you had any similar type of “aha” growth moment? If it involved NWA, you and me? We >< here.

Talk to me.

-VSB P aka PETEY WHEATSTRAW aka GIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIRL HE A 3

VSB Happenings: #REMINISCEDC (5/5/12), #DEFJAM25DC (5/12/12), Sweatshirts

It’s been a long time, we shouldn’t have left you, without a newsletter to skim thru. It’s your main ninja behind the motherlovin’ trigga, Panama Jackson, and I’m here to talk shop with you today. For starters…hello. How you doin? How ya mama doin? Good? Great. First things first…we’ve got some events to talk about.

5.5.12 #REMINISCEDC | Liv Nightclub, Washington, DC
First up, it’s time for another edition of #REMINISCEDC, the party dedicated to all 90s music at Liv Nightclub in DC!!! Straight hip-hop/r&b/dancehall brought to you by Very Smart Brothas x Shine On Me x Just Cause Events. Come party with us THIS Saturday, May 5, also know as Cinco De Mayo (rock your sombrero), FOR FREE! It’s FREE before 11pm with RSVP (reminiscedc.eventbrite.com) and $10 after, there’s an OPEN BAR from 930-1030PM (sponsored by Courvoisier) and NO DRESS CODE. It’s cheaper to come out and party!!!! After you down all the Coronos and Margaritas you can, come party with us! Plus, we’ll have $5 drink specials all night long. Really, you can’t beat it. Peep the flyer!

Then, there’s ANOTHER dope event to talk about for the hip-hop lover in you! It’s the celebration of Def Jam’s book talking about their first 25 years in existence happening in DC. Peep the Details:

5.12.12 Def Jam 25 | The Lincoln Theatre, Washington, DC
Join us as we pay homage to the 25 year milestone of the iconic Rap Label-DEF JAM & The Book it inspired- “Def Jam: The First 25 Years of the Last Great Record Label”. Check the festivities below.

CONVERSATION with Cey Adams-Def Jam’s founding Creative Director, Bill Adler-founding Publicist, Rap Legends EPMD, invited guests DJ Spinderella (Salt-N-Pepa), Timothy Anne Burnside [Smithsonian Institution NMAAHC]…

PERFORMANCES by The Legendary EPMD, Asheru, Carolyn Malachi, Tabi Bonney, Maimouna Youssef, RaTheMC, JF Koop, Seez Mics and more

Lincoln Theater – 1215 U St NW WDC 20009
Tickets : $35 adv/42.50 day of/$50 box seats
Promotion Pkg $85 incl. advanced ticket and book

Tickets: Ticketmaster (http://bit.ly/DefJamTix), Lincoln Theater Box Office
Or to arrange drop-off service (DC) email us : info@hedrushmusic.com

Info: info@hedrushmusic.com
Facebook: HedRush // Twitter: @HedRushMusic and #defjam25dc

****NOTE: Representatives from Hedrush will be on site at Reminisce this Saturday to sell tickets in person if you’d like to avoid the TicketMaster excess fees!****

AND LAST BUT NOT LEAST, we’re still selling VSB crewneck sweatshrits in collaboration with Coliseum Apparel. These shirts feature the VSB logo and are perfect for every day hanging and support of your favorite website. Go to the link here and get your cop on. They’re going fast! We really appreciate all of the support that’s been provided to us over the years and if I could buy everybody their own, I’d do it! But I can’t…but I’ll hi-five you if I see you in one!

Well that’s all for today and I know that was a lot! Happy hunting! Thanks for sleepwalking with the kids!