A few (or more) years ago, I embarked on a project to tell the story of the Godfather of Tampa Hip-Hop, Kenny “Kenny K” Waters. Kenny K was the first notable hip-hop DJ in Tampa. From 1986 to 1993, Kenny hosted his rap show on WMNF 88.5. He played the big New York artists at the same time they were being played in New York, at a time when other cities had to wait for the labels to distribute. He introduced a generation to the music of the streets.
Kenny was also notable for being a founding member of old school hip-hop group Digital Underground. Known for their smash hit “The Humpty Dance” in 1991, Digital Underground played around the world while Kenny stayed in Tampa with his show and working on his own solo music projects.
Sadly, Kenny passed away in 1994 from a liver disease, his own album never completed. Since his death, there have been a handful of articles and memorial pieces, but no one has put together his whole life story.
This week my team and I are happy to release the trailer for the Kenny K Documentary. We still have many people yet to talk to, but we wanted to show the world what we have. This is a big step in the biggest project I have ever worked on.
Creating art puts you in elite company. Not everyone exercises their creative genius in their lifetime. Meeting other creators is an awesome feeling. Especially when your creation is connected to their creation through other associations.
As I've mentioned many times, my debut novel is entitled Curveball at the Crossroads. It is a baseball novel set in rural Mississippi about a young African-American baseball player who makes a deal with the Devil. The audio version of Curveball at the Crossroads is narrated by Torian Brackett. Torian did an amazing job.
A few months later, Torian posted on social media that he another baseball book project in the works. He was narrating "Call Him Jack: The Story of Jackie Robinson, Black Freedom Fighter" written by Yohuru Williams and Michael G. Long. I cannot confirm or deny that doing Curveball at the Crossroads opened Torian to additional baseball opportunities, but I like to think so.
A few months after Torian's announcement, New York-based rapper Skyzoo announced that he was part of a Jackie Robinson documentary entitled "Get to the Bag". Skyzoo dropped the trailer for his project in October 2022.
Now here is where I tie it all together. In mid-2021, Skyzoo performed in Tampa. He has been one of my favorite rappers for years and I could not miss the opportunity to see him perform. After the show, I realized I had a box of books in my car. I acquired a signed CD from him and gave him a signed copy of Curveball at the Crossroads. I remember writing in it that his music has gotten me through some tough times, so it was personal. It was very cool moment for me as a creator to present my creation to a creator that I admire.
I am not sure if Skyzoo has read Curveball at the Crossroads yet. But now there is a chain through creators, associates, and subject matter from my novel in Tampa, Florida through Mississippi to New York City and laying its home in Brooklyn. We are taking JaMark Reliford and the Blues to Ebbets Field and hip-hop.
Be sure to check out Curveball at the Crossroads as well as Torian's Jackie Robinson project and Skyzoo's Jackie Robinson documentary.
"And though we're usually on the serious tip, check it out:
Tonight we're gonna flip and trip and let it all hang out tonight
We're gonna say what we like"
Back in the late 80's and early '90s, "on the serious tip" was a semi-common phrase in hip-hop culture. A quick google search of the term reveals a few songs with the term and quotes from De La Soul and The Fresh Prince.
Possibly the most famous use of the term, and the one people are most likely to hear regularly - at least on old school hip-hop channels - is in Shock G's verse on the Digital Underground classic "Doowhutcha Like". So it is absolutely fitting that I write this tribute here, on this blog, which has been named after the old school hip-hop phrase since 2006.
Shock G has been gone for nearly a week and this is still tough to write. It is not often that a music legend, a big part of a genre's history, is a part of your life. But Shock G was a part of my life. Admittedly, I didn't know him all too well, but good friends of mine considered him a good friend.
I have been lucky enough to become friends with people who have been part of Tampa's hip-hop scene for over 30 years. They were there when there was only one radio station, WMNF 88.5, that played hip-hop. And they were there when the earliest DJs and MCs were putting on shows.
Shock G was one of those MCs.
Through hustle and probably a bit of luck, Shock G made it happen in Oakland. He became an international superstar. He rocked stages. He made appearances. He created other legends. His contribution to hip-hop is undeniable.
But around my friends, he was just Shock G, another member of the Tampa hip-hop community. A dude to goof around with, to kick it like they used to back in the day.
My favorite part of this video, besides the fact that I am in it, is that he calls Nick Major, "Fred".
I first met Shock G at a club called Blue Martini in Tampa in late 2011. My friend Nick Major was living with me and had known Shock G for decades. But if I remember right, he hadn't seen Shock in several years. But he got word that Shock was performing at the nightclub and so we had to be there.
I don't remember why I brought my huge afro wig into the Blue Martini. I also don't know why I had funny nose glasses with me. But they proved to be a key part of one of the coolest pictures I have ever taken. I like to think I could have fit in on stage with Digital Underground back in the day. We didn't talk too long with Shock G that night, but Nick was able to get his number and stay in touch.
Thanks to Nick and Paradox 2WX aka Spike La Rock aka Dox, I was able to interview Shock G a few weeks after we met him at Blue Martini. Shock was super cool and eager to tell his story.
There is so much history in this interview. But the video itself has its own history. After we did this interview, I left for Afghanistan for 14 months. My friend Bill McArdle of TampaBayNightLife.tv saved it on a hard drive and stashed it among his other recordings.
Years passed. Occasionally I would ask Bill if he still had the interview, and he would say yes, and that was that.
In 2019, I finally asked for a copy of the video. After Bill found it, we copied it to my personal drives.
So was it actually "lost"? Depends on who you ask. Bill knew he had it. I sure didn't know exactly where it was.
After we filmed the interview, Nick, Paradox, Shock G, his friend Chadoun, and I went out to eat. Of course with Shock G it is fitting we went to Burger King. No one got busy in the restrooms, but we did learn that Shock G was a big fan of the veggie burgers. After chilling in Burger King for a while, we all went our separate ways.
A few years after our interview, I saw Shock G in a Chilis in Tampa. He was getting take-out for him and a friend. I reminded him who I was and we talked for several minutes. He mentioned he visited Tampa to get away from California and pressures of the showbiz world. Although he was successful, he seemed to enjoy home more.
In late 2015, I saw Shock G again when he returned to Tampa to perform at the 3rd Annual Kenny K tribute concert at Crowbar in Ybor City. Kenny was Shock G's friend and the man who got Shock G back into hip-hop in the late 80s/early 90s. They, along with Doc P and others, were the founding members of Digital Underground.
This was one of the most touching performances I have ever seen in hip-hop. Shock G often gets emotional for his late friend. He does his classics, but also several freestyles where he rhymes about Kenny.
After the show, I got to hang out with Shock G in the green room at Crowbar. When I congratulated him on the show, he remembered me as "Nick's friend" and told me we need to do another interview sometime. While I stood to the side, Shock G chatted with Dynasty, a Tampa MC who was blowing up at the time. Dynasty has since moved on, but it was a great moment in Tampa hip-hop past and present.
Although my friends saw him several times after, that was the last time I saw Shock G. They have pictures with him during his other Tampa visits, to include birthday parties and hanging out at hip-hop clubs. Shock G was always around.
As time has gone on and I have been able to interview more people for the Kenny K Documentary project, there was always talk of re-interviewing Shock G. We even discussed getting Shock G more involved in some way - perhaps he could host the documentary.
Unfortunately, that will never happen.
As I got to know him a bit, Shock G was an inspiration to me. An artist who was adaptable to different trends, used props when he wanted, created characters, and as I said on WMNF's recent tribute show, was "creativity personified". Although he went through a lot of tragedy, Shock stayed creative. It was his way of connecting with the world.
Shock G's death is personal. He was a good dude to me and to many of my friends. We had to share him with the world, but he will always be our friend.
Welcome to my latest review of the Insane Clown Posse and Psychopathic Records's catalog. It has been a while since I reviewed an album here, so I am excited. Today's subject is The Great Milenko, released in 1997. This is ICP's fourth major release and the fourth Joker's Card album. The card in the album calls this ICP's "most controversial release yet". This should be fun.
Before I start, the album liner notes are particularly interesting. The thanks might be the longest thanks I have ever read in an album. There is also an interesting blurb on who is The Great Milenko. I am not sure I understand what they are talking about, but perhaps the album will make it clearer.
Intro
The album starts with a country-western vibe. People are playing a jukebox when a voice comes over the air warning about the Great Milenko. This is actually a very cool and informative introduction of the Carnival of Carnage. It tells the story of why the carnival exists and its purpose. It also describes how three Joker's Cards have already come and gone. This seems like an introduction for those who might not already be down. But it is a good reminder for those of us trying to figure out the clown philosophy.
Great Milenko
This beat is nice. Violent J introduces The Great Milenko and who he is. A wizard of the dead. I wonder how Violent J and Shaggy brainstormed these ideas. Was it a team effort? Or did one just go along?
Hokus Pokus
Violent J opens this song with a song introducing that ICP is in town. Nice beat. I can see this song being nice in concert. Definitely upbeat. Even Shaggy's verse in this song is decent. I like the DJ scratch segment and breakdown. This song seems like the clowns are announcing the circus is back and led by the Great Milenko. Fun song.
Piggie Pie
This song starts in a prison. Woah, a rock-driven beat. Violent J and Shaggy rap about murdering rednecks and rich people. I am still not sure how the anti-redneck theme jives with the circus. Are the clowns avenging the wrongs committed by southern white culture? Is this is sort of a Django-type fantasy? Interesting mention of a rich man as the devil and Violent J killing the devil. Does this pit the devil versus the carnival?
This songs ends with an awkward suicidal phone call.
How Many Times
A slower beat. This seems like a reflective song. Violent J raps about some of the wrongs of the world, especially the awkward responses of people to wrongs and death. I like this song. It really has nothing to do with the circus or the clowns. It is just interesting observations about life from the perspective of ICP. A weird ending by a braggatocious wannab who gets called home by his mom.
Southwest Voodoo
Wait, was that a shout-out to Da Lench Mob's "Guerrillas in tha Mist"? Nice. (Ed note: I paused it to find out that "Voodoo, running from my magic" is actually a X Clan line that Da Lench Mob sampled as well.) This song starts with a Shaggy 2 Dope verse. I think he is making things up here. The verse makes no sense. This song also sounds like it would be fun in concert, even if the lyrics are nonsense. This isn't the first time ICP has mentioned Southwest in a song. I am not sure where they are referring. Is it southwest Detroit? Southwest USA? I am confused. Again.
Halls of Illusion
Shaggy 2 Dope starts this song as well. I am not sure what he is talking about. Violent J follows with a verse taking revenge on wrong-doers. Interesting rock-riff chorus. One Shaggy's verses is about how seemingly perfect families and neighborhoods often hide dark secrets.
Under the Moon
This is a weird song about an obsessed dude who kills for a girl. While he sits in prison he thinks about her. Does this song have anything to do with the carnival or the clowns? Dumb song.
What is a Juggalo?
I am not sure this song actually defines juggalos. But I think that is the point. The point is that the juggalos aren't defined by the song, but the fact that they dig ICP and are strong in their identity. Otherwise, if you take the song seriously, you aren't down with clown.
That's part of my confusion with ICP. If this song isn't supposed to be taken seriously, is the carnival? What about their hatred of rednecks?
House of Horrors
We are now back to the carnival theme. Shaggy 2 Dope opens with a verse welcoming people to the House of Horrors. This is actually a good verse, especially if you consider he is trying to scare people who entered the house unintentionally. Cool beat.
Boogie Woogie Wu
Interesting intro. Definitely a horror movie vibe. Violent J is back with a scary verse about the Boogie Man. The Boogie Man scares or kills his victims.
The Neden Game
This song was on the Mutilation Mix album from the last review. It follows a TV game show format. Definitely creative. Not sure what this has to with the carnival or the clowns.
Hellalujah
The intro is of a preacher on TV. Then Violent J drops a verse from a crooked preacher's perspective. At least this song is consistent. While I understand the content, not sure what this perspective has to do with the carnival. Why are the clowns not taking revenge on the preacher? The breakdown "pass me the collection plate" is very cool.
Down with the Clown
I like the upbeat vibe of this song. I like the opening verse, in which ICP discuss how they have their niche and listeners will not seeing them selling out. The group is definitely sure of their identity here. And they are asking the fans to be sure of their fandom as well. This is much more of an affirmation song than What is a Juggalo. All ICP asks is that you be down with them. If you are down, then you are a juggalo.
Just Like That
Not sure what to think about this song. It sounds like filler. What does it have to do with the rest of the album? Eh.
Pass Me By
Shaggy 2 Dope raps over a piano-driven beat about how he dies and joins the carnival. Interesting chorus. Violent J also drops a similar verse about dying and joining the carnival and being more happy in death with his juggalo brethren. This is almost a 2Pac-like reflection song. Curious way to end the album.
Overall, I liked this album. Some of the songs are filler. But some would be fun to see in concert. ICP shows a lot of growth on this album. They define themselves and what they believe in. They also invite others to be down with them, while still staying true to their underground roots. This album is not as underground sounding as their previous albums, but it is definitely not mainstream. ICP shows a bit more depth and maturity on this album, as much as they can. It is definitely a deeper album than their previous offerings.
It has been a while, but once again I am brave enough to venture into the long and illustrious catalog of Psychopathic Records, home of the Insane Clown Posse and other associated acts.
Today's listen will be Mutilation Mix: Greatest Hits (That Never Were Hits) released in 1997. The back of the CD says there is 75 minutes of music and 2 new tracks, so I am expecting many songs I've heard over the first 6 albums I listened to. I wonder if this album has a theme, or are the hits that never were haphazardly arranged. Will these mostly be remixes of the socio-economic revolution songs or of tales of redneck-hunting and other murder and mayhem?
Unfortunately, the CD liner notes do not have the track list, so I had to copy it from Wikipedia. I hope it's right.
Request #1 (Nate the Mack)
The album starts with a phone call to Violent J. Nate the Mack asks about their greatest hits, which he claims they never had. Unless it was Cemetery Girl, which is a segue into the next song.
Cemetery Girl
This song is from Riddle Box. I dig this new beat. This might be better than the original, which I called "skippable" when I reviewed Riddle Box.
Hey Vato
This is the first time I have heard this song. It starts with Shaggy 2 Dope yelling at someone named Richie. Then it goes into a Violent J verse about gang banging. I still don't understand ICP's fascination with gangs. The song repeats how it is "all about clown love" - which is great marketing for their community theme. While the beat is interesting, and the chorus is good, the verses are forgettable.
Wagon Wagon
This song was originally on the Ringmaster album. My original review was that this was the most mainstream of ICP's early work in regards to beat and structure. This beat sounds similar to a DJ Muggs-type beat from early Cypress Hill albums.
Request #2 (Esham)
This track is another phone call. This time from Esham, asking that a song he was on be included in the greatest hits, which of course rolls into the song.
Psychopathic
This song was originally on the Carnival of Carnage album. My original review said this song was like Funkadelic meets Halloween, with the ICP style of lyrical braggadocio - murder, mayhem, and sex. This version is shortened, about half as long and does not include the Esham verse. I wonder if that is on purpose.
Southwest Strangla (2 Dope solo)
I haven't heard this song before. This is a story from a murderer's perspective. While the lyrics aren't that deep, it is classic horrorcore. Still not a big fan of Shaggy 2 Dope's flow.
Never Had It Made
This song was originally on Carnival of Carnage. I like the intro. I still don't understand the ICP fascination with jail and incarceration. Do they have experience in the pen? Were they clowns in prison?
Chicken Huntin' (Slaughter House Mix)
This is remix of Chicken Huntin' that was on the Riddle Box album.
I Stuck Her With My Wang
This is the first time I've heard this song as I don't have the Terror Wheel EP. Shaggy 2 Dope opens the song with a verse on mutual sexual violence. At least I assume this is consensual. Horrorcore meets sex rhymes.
The Loons
This song is off the Ringmaster album. Still creepy, but this time without the verse about socio-economic revenge.
Red Neck Hoe
This song was originally on Carnival of Carnage. Shaggy 2 Dope's flow is not good. So simplistic. This version does not have the Violent J verse.
I am noticing a pattern with this album, that is it just samples of the songs. Which is really weird. Why would ICP do shortened versions of their own songs? This album would be better if it flowed like a real mixtape.
Request #3 (Charm Farm)
A third phone call recording to ICP. Dennis and Steve from Charm Farm request I'm Coming Home.
I'm Coming Home
This song was originally on Riddle Box. I didn't like it then. Does ICP know that many people who have returned from prison? Have they ever returned from prison themselves? This song admits a comfortability with negative conditions. It also doesn't have much to do with Carnival of Carnage/Ringmaster/Riddle Box storyline. Very confused.
Superballs
This song was originally on the Tunnel of Love EP. I dug this song on the EP. The beat is fantastic. Tunnel of Love is probably my favorite album of the ICP albums I have listened to so far.
The Stalker
This song was originally on Beverly Kills 50187. When I first heard this song, I was confused. Still creepy.
Wizard of The Hood
This was on the Carnival of Carnage album. This was favorite song of the Carnival of Carnage CD. This track is only 1 minute long. Starting to think this whole album is a mixtape without any blending. Just samples of ICP's first 7 albums (6 I have reviewed, and the Terror Wheel album.)
Skitsofrantic
Another one from the Terror Wheel album. Which means this song is new to me. Very West Coast funky beat. All about being paranoid. This is a cool song. Sorta a Mind's Playing Tricks on Me vibe.
3 Rings
From the Riddle Box album and Shaggy 2 Dope's solo joint. Another song about the carnival. Violent J has an Ice Cube flow on this song.
Request #4 (Harm's Way)
Not sure who Harm's Way is, but they are on this phone message.
Murder Go Round
From the Ringmaster album. Still not a fan of this song.
Request #5 (Daddy X of the Kottonmouth Kings)
The fifth call of the album.
Southwest Song
From the Ringmaster album. This has a funky beat. Shaggy 2 Dope sounds pretty good here. Not sure why ICP fantasizes about the southwest. Is it Southwest Detroit? Or the southwest US?
Fuck Off!
Another Shaggy 2 Dope song. I bit uptempo for Shaggy, but he sounds good on this. This would be a fun song in concert. I wonder why some of the songs on this album are over 3 minutes and others are less than 2 minutes.
Dead Body Man
From the Riddle Box album. I didn't understand the songs placement on the Riddle Box story, but here it fits.
Cotton Candy
This is from the Tunnel of Love album. I dug this song the first time I heard it. All about sexual innuendo.
17 Dead
From Beverly Kills 50187. I like when ICP goes social-economic. But the message gets lost often among the horrorcore filler, anti-redneck screeds, and sexual innuendo songs. Very confusing.
Request #6 [(2 dog)]
2 Dog drops a message on ICP's answering machine.
The Neden Game (Album Version)
This is a new song to me. ICP is on a gameshow answering a girl's questions, a la The Dating Game. I think this was a preview of the next album. "I would order you a drink, a stir it with my dick" is a great line. I like when ICP gets randomly creative. But again, their blending of several messages throws me off. Maybe that's why I like the EPs better than the joker card's albums thus far.
House of Wonders + Mike Clark Bitchin'
This is another new song that I haven't heard before. Violent J raps about how he doesn't like a preppy dude. Then the chorus goes into a carnival chant. Shaggy 2 Dope rhymes about turning a woman who did him wrong into a member of the freak show.
The song and album closes with their producer Mike Clark yelling at ICP for not paying him for this album and their previous albums.
Overall, this was interesting. I am not sure the point of a "greatest hits" album after only being around for a few years. This was definitely more of a mixtape than a greatest hits. I think if it was a mixtape in the traditional hip-hop sense, it would have flowed better. Here, it was just a bunch of clips of songs. I can't think this is a must-have for ICP fans, but real ICP fans need it in their collection.
Picking up on my journey through the long and illustrious catalog of Psychopathic Records, today's listen is "Tunnel of Love", released in 1996. This is a non-joker card release following Riddle Box.
Based on the cover art, this album looks like it is going to be interesting - like ICP's version of a romance album. If I understand the Violent J and Shaggy 2 Dope a little bit already, this isn't going to be Luther Vandross. There will probably be a lot of murder, mayhem, and misogyny. Romance, the ICP Way.
Intro:
Intro starts with a deep tone and a whispering creepy voice welcoming us to the Dark Carnival. A woman whispers "do you love me?". This is creepy. I'm scared.
Cotton Candy:
Funky beat. Shaggy 2 Dope opens the song with typical A-B-A-B rhyme style. Cotton candy isn't about candy. Imagine that. I like this beat and the chanting chorus. Violent J drops the second verse. I am not surprised this album starts with sex rhymes. There is no Dark Carnival-Carnival of Carnage in this song. I wonder if there will be at all in this album. Is this the clowns day off? The Ringmaster gave them a few days off and they decided to chase women instead of kill rednecks. The clowns lead interesting lives.
Super Balls:
Another funky beat. Slower and more bassy than the last song. Super Balls is a superhero. I wonder if Super Balls knows Redman's Soopaman Luva. Super Balls is the first time I have heard "whoop-whoop", which I am pretty sure is an ICP staple. I dig this song, as misogynist as it is. It is funny. There are verses on this song that do not seem rapped by Violent J and Shaggy 2 Dope (ed: according to Wikipedia, this song features Legz Diamond - which seems like a rip-off of Wu-Tang Clan Raekwon The Chef's nickname of Lex Diamond).
Ninja:
This song starts with skit of a murder in which the victim doesn't die. Then it goes into movie narration describing what a ninja is. (Seriously, first Legz Diamond, then a straight Wu-Tang style song intro. Wow.)
Then the song drifts into a fantasy verse by Violent J and his obsession with ninjas. Which is similar to "It Feels Good to be a Gangsta". The ninja is of course a hero. The ninja beats bullies, defends his mom, and then takes revenge on his jerk boss. No love in this song, just ninja fantasy. Like an 1980s kid after American Ninja or and other Ninja movie. I dig this. Super cool.
Driving beat. Shaggy 2 Dope opens this song with a murder verse. I guess the clowns are back. Although he mentions acting like a "gang banger should". Huh? This song features a fun call and response between "stomp" and "whoop whoop". I bet this is great concert song.
The song ends with a carnival beat and mention that the jugglers and clowns are coming to your town. I guess the clowns aren't gone.
Prom Queen:
Creepy intro. Violent J opens this song with a story about his upcoming prom. Unfortunately, he gets rejected by his proposed prom date. Then, in typical ICP fashion, he has to kill the girl who rejected him and brings her body to his house for his own personal prom. Sadly, I can see this song being listened to by kids who aren't very popular and maybe face rejection in high school. It is not very optimistic. I get it, but I worry the wrong kid could like this song. It seems more realistic than ICP's other social revenge songs. Creepy. Sorta like Possum Kingdom by the Toadies. My Kinda Bitch:
Violent J opens this song taking his "kinda bitch" - who of course is a freaky carnival woman. This beat is really weird but interesting. There sounds like there is a duck quack in the background. Of course, Violent J's chick is anti-social, disturbed, and promiscuous. This is the ICP version of Apache's Gangsta Bitch.
When I Get Out:
Starts with a skit about a prisoner getting punked by guards. Shaggy 2 Dope opens with a verse about getting out of jail. I am guessing this song has nothing to do with the carnival of carnage. I am not sure where being in prison falls in the ICP story. Is this just a fantasy? Why would ICP fantasize about getting out of prison? Do they have people in prison? They never mentioned before that prison was a part of their lives. I am not sure about this song. It sounds like they are trying to build "gangsta street cred" with this, glorifying getting out of jail. Sounds like a song suburban white kids would write to be cool. Worst song on the album.
???:
Track 8 has a hidden track at the end. After minute of silence, there is a gameshow called "You're a stupid ass" that narrates a quiz that when correct, gives a number to call to hear the title of ICP's new album. Neat way to build excitement and keep fans engaged.
Overall, this was a fun album. I wasn't expecting a lot, although I was expecting ICP's take on romance. I wasn't disappointed. A lot of the beats were tight and the rhymes were creative. The high point was Ninja and Super Balls. The low point was definitely When I Get Out. Another point about this album was that it avoided a lot of the socio-economic revenge ideas that have confused me about the clowns. But I think the joker card series is what kept the fans coming back. But to me, there non-joker cards albums have been more creative and fun thus far. Maybe I just don't get it yet.
Continuing my valiant review of the Psychopathic Records catalog, today's listen is the Insane Clown Posse's Riddle Box, released in 1995. Riddle Box is the third Joker Card album from ICP, following Carnival of Carnage (1993) and Ringmaster (1994).
Going into this music adventure, I did not realize ICP was so prolific in the mid-90s. With the LPs, they are releasing an album or two every year. That's hustling.
Without further ado, let's begin:
1. Riddle Box
This album starts with ICP driving and then getting into a car crash. After dying, they are confronted by people who want them to turn the crank to jack-in-the-box.
2. The Show Must Go On
This song starts with a carnival barker barking about people getting something from a "riddle box" after they die. Then Violent J introduces himself. They call themselves Juggalos again. Violent J also says "the jokes on you". Shaggy then introduces himself to the listener and says they received their prize from the riddle box. The carnival barker says by turning the crank, the deceased will learn whether they go to heaven or hell. There is a continuous beat but no verses.
Following the beat is the actual song "The Show Must Go On", which is listed as Track 3, but is the second song. ICP is trying to confuse me.
This song drops right into Violent J's verse. And the clowns are back. Here he references the Joker Cards - "three more cards and the skies will be falling". Not sure what that means, but the cards are a theme for ICP. I dig the beat in this song. It has a dark, deep, funky sound. Following Violent J is of course Shaggy 2 Dope with a decent flow. A little better than his previous albums.
I like the narration in this song. It actually describes the ICP meaning. The clowns are part of the carnival, setting up the tents, etc.
3. Chicken Huntin' (Slaughter House Mix)
This song starts with a prank call to stereotypical southerners and ends in a delivery person shooting the southerners. This song is a remix of the song Chicken Huntin' that was on the Ringmaster album, although this song has a rock riff, coming out in early phases of rap-rock. I still don't understand ICP's obsession with killing rednecks. Is this the clowns' vigilante mission? Or is this part of the carnival?
Following Chicken Huntin' is a track in which an interviewer tries to interview ICP to no success. This is not the next song. ICP trying to confuse me again.
4. Toy Box
Nice old school rap beat with a kid's type laugh track. And Shaggy 2 Dope goes into a horrorcore verse about a loner in a broken home who makes distorted toys. Each of the toys of course adds to the chaos and murder.
5. Cemetery Girl
Begins with a track of two guys talking about how one guy is still in love with his dead girlfriend.
Violent J starts with a nice sounding verse about his visiting his dead girlfriend in the cemetery. Apparently clowns like necrophilia. Do the clowns exist by any moral code? If real people have to turn the crank, do the clowns exist in heaven or hell? Or are they limbo beings, able to do whatever they want with no repercussions? Does the Ringmaster and others also exist with no moral code?
Otherwise, this song is skippable.
6. 3 Rings
A carnival barker greets "wealthy beings" to a circus of freaks and unfortunate souls. This is song was previously on Shaggy 2 Dope's solo album. It is a song about individuality that is looked down upon by mainstream society. It has a good message of acceptance in a twisted, horrorcore way.
7. Headless Boogie
I like the beat of this song. Funky. Violent J raps about finding a group of dead bodies dancing. Nice Kurt Cobain reference. Why is the clown surprised to find headless people? I do like the upbeat groove of this song. I bet this is a crowd favorite.
8. The Joker's Wild
Wow. This beat is super nice. Very funky. Shaggy 2 Dope starts rapping about a gameshow and its contestants. Of course the contestants are people ICP dislikes and they get killed. I don't think this is part of the carnival. Or this could possibly be a creative Walter Mitty-type dream of someone who feels marginalized.
9. Dead Body Man
A newscast discusses missing dead bodies. The clowns like dead bodies. They have them everywhere. Is their deadbody girl their cemetery girl? And are the dead bodies those who turned the Riddle Box? Does this song have anything to do with the theme of the album?
10. Lil' Somethin' Somethin'
This is not a good song. The tone of the song is an attempt at a twisted love song. ICP sing more than rap. I don't like the tempo and the beat. It is like a bad break in the album. Are the clowns on their day off from the carnival here?
11. Ol' Evil Eye
We have returned to the carnival. Ol' Evil Eye is the main attraction movie at the carnival. This beat is fantastic - very similar to the Gravediggaz beats. Violent J raps about trying to kill a dude with a weird eye. Shaggy 2 Dope also tries to kill the old evil eye dude. As bad as the previous song was, this song is very cool. Probably one of the best in this whole ICP adventure.
12. 12
I love that the 12th song of the album is named 12. Violent J kicks it off with a verse about coming back from the dead and killing someone. Shaggy follows it with a verse about killing someone as well. Are the clowns reincarnated? I think the clowns are avengers of sorts, collecting souls for the carnival.
13. The Killing Fields
Violent J starts with a depiction his sad life and neighborhood. Then he states when you die, you go to the killing fields. Is this a depiction of hell? Or this ICP's depiction of the inner city? ICP hasn't mentioned the inner city versus suburbs concept at all this album. The meaning of this song is confusing. Probably why it is the second to last song on the album.
14. I'm Coming Home
This song concludes with Violent J celebrating going home to the ghetto. According to ICP, they want to go home to the freaks, gang bangers, and crooks in the inner city. This song brings back my confusion about ICP: are they celebrating the poor elements of the inner city? Do they want it to get better? If not, it sounds like they are exploiting those in poor socio-economic conditions for content of their song. It almost conservative in its celebration, like a country song about beat-up pick up trucks in a poor small town.
Continuing my journey through the long catalog of Psychopathic Records, today's listen is the first solo album from a member of the Insane Clown Posse: Shaggy 2 Dope's F*ck Off, released in 1994.
Besides being the first solo album, this album continues ICP's pattern of releasing EPs between their main "Joker Card" albums. Interesting strategy to keep fans interested.
Going in, I am not expecting much. Thus far on their albums, Shaggy 2 Dope has definitely been the weaker of the duo. Violent J was the better rapper on the first three albums. Let's see what Shaggy can do solo.
1. F*ck Off
Starts with a nice upbeat hip-hop beat. Shaggy immediately jumps into anti-social rhymes. Shaggy doesn't care what people think about him and he will do what he wants. Braggadocio rhymes with an anthem feel. "I won't mix rap with rock'n'roll, like someone I know" - is that jab at Kid Rock, who was the Carnival of Carnage album? That was only the year prior.
2. Clown Luv
Decent beat, but Shaggy 2 Dope doesn't sound as a smooth on this song. This song also has a weird reverb and audio fade. I am not digging this song. Content-wise, this song is carried by the chorus about being part of the Clown Luv crew - which is supposed to be a bridge of all the other sets. I wonder if ICP knew the growth potential of their following by this point in their careers.
3. I'm Not Alone
Shaggy brags about being down with the carnival crew from the ghetto. This is the first mention of the carnival on this album. "Jokers and freaks in the night" - this song talks to the outsiders and gives them a sense of identity as well as talks about them getting social revenge on those who hold them down. Sort of a Tad Browning's "Freaks" vibe. Is this is a Walter Mitty dream type fantasy or are they calling for outsiders to bond? Or are they trying to tell outsiders that they aren't alone to boost their self-confidence? Outsider kids might migrate to this, thinking ICP has their back.
4. 3 Rings (w/ Violent J)
Back to the carnival vibe, this song starts with a carnie barker telling "normal" people to check out the circus of freaks. The song starts with a Violent J verse, about freaks and mutants being excluded from the popular parties. Interesting premise. Shaggy 2 Dope takes the second verse and flows like he did on the first song. I dig the "One of us" vibe of these last two songs. It celebrates differences.
This CD didn't make me wonder about the psycho-social-economic themes of the Joker card albums. It was on a "we are cool because we are different" vibe that was empowering. It also didn't contain any of the anti-southerner or racists themes of the full albums. Shaggy 2 Dope still isn't consistent lyrically, but overall, although short, this was a fun listen.
I recently rediscovered the Holy Grail of celebrity showcase shows: MTV Cribs 2001 episode with rapper Redman. Redman has always been a favorite of mine and this show was a great reason why. It was funny and dirty and raw, far different from the extravagant displays of wealth other MTV celebrities had on Cribs.
Redman's place looked more like my own and still does than any million dollar mansion. Living below your means keeps you hungry. Living well should be a reward for hard work, but if you aren't where you want to be, keep that cheap place with no screen in the door and a box full of dollar bills atop the fridge.
Continuing my trip through the catalog of Psychopathic Records, today's listen is the Insane Clown Posse's Ringmaster, released in 1994.
Ringmaster is the second release in the Dark Carnival and Joker Card series, behind Carnival of Carnage. The album looks more professional than the previous Beverly Kills CD.
1. Wax Museum
Church bells is cool way to start an album. Very cool fortune told by a fortune teller. Very apocalyptic. Talks of evil payback of the sins people did. How the evil of one's life will be lead by the Ringmaster. Then the song goes into a bass-driven carnival beat with some nice DJ scratches. I am digging this. Apparently ICP works for the Ringmaster. So they are prophets of sort.
2. Murder Go Round
From the very cool intro, I am not digging this song. The beat is very jarring and the rhymes are way too simple. We went from high concept mythology to rhyming about killing for shock value. Although he does mention that he is a juggalo a few times. The first time I have heard that team used/ Violent J's verse is just about killing people in his neighborhood for no reason. Unless the clowns are mindless followers of the Ringmaster? Are they like zombies? Should I feel sorry for their plight as mindless killers like I would Jason Vorhees, whose rational for being a mass murder was because he was abused by camp counselors?
3. Chicken Huntin'
This song starts with a skit of ICP encountering an old southern man and attacking him. This song continues ICP's attacks against southerners. The rhymes are much better than the previous song. This is an anthem of sort with "chickens" being traditional rednecks. This song is also the first appearance of Shaggy 2 Dope on this album. Are the clowns killing the rednecks to continue the agenda of the Ringmaster? Or is this independent work by the clowns?
4. Mr. Johnson's Head
This song starts with a clip in a classroom. Violent J talks about his days in school, possibly high school. Interesting premise: the reason the class has had repeated substitute teachers is because Violent J chopped off the head of his racist teacher. Then the student goes crazy from lack of social skills. This is an fantasy track with interesting socio-political message about the euro-centric, white Utopian teachings in American classrooms. I dug this.
5. Southwest Song
A funky beat led off by Shaggy 2 Dope. I like the addition of a chorus, a modification of the Wizard of Oz's oooo-eeee-oooooo. I could drive to this song. With the mention of the Joker's Card, I think this song might relate to the Ringmaster again. Maybe the Southwest Song is the song people hear when they die, before they face the Ringmaster.
6. Get Off Me, Dog!
Nice 70's vibe in this song. Another Shaggy 2 Dope song. 2 Dope is not as good of a rhymer as Violent J. His songs are very elementary. I don't think this song has anything to do with the Ringmaster. Shaggy 2 Dope wants people to leave him alone.
7. Who Asked You
While the beat is fun, the lyrics are like filler. "Lemon drops, lick lollipops" is not good. Although maybe that is the point of the song. This is a rebellion track telling people that ICP will do what they want no matter what people's thoughts of them.
8. The Dead One
The intro to this song is awesome. Perhaps from a movie with a nice drum beat with a cool guitar riff. Violent J starts this song by talking about his own death over a continuing slow beat. Violent J leaves his house as a dead person. This song isn't about clowns at all. By the end of the song, Violent J is pushing against his death, claiming he doesn't want to die. This was cool. Very different. When they are serious, their songs are deep.
9. My Fun House
Two cops lead off this song analyzing a murder. Then Violent J drops another verse about killing people, the clowns, and the carnival. There is a lot going on on this album. Like two or three themes at the same time. This song mentions the Ringmaster again. Maybe the Fun House is where the Ringmaster works and the clowns are taking victims through the fun house. Which songs am I supposed to take messages from and which are filler?
10. For The Maggots
This short song is about people who defy their friends or who don't act honestly. Posers, wannabes, etc.
11. Wagon Wagon
The first song to mention the Insane Clown Posse by name. The wagon seems to be what the clowns roll around in to spread their chaos. The Ringmaster drives the wagon so this song continues the theme. This song is also the first song by ICP to mention weed, which is a frequent subject of many rap albums. This is probably the most mainstream rap song of the album.
12. The Loons
Starting with a prank call, this song then gets into a creepy Violent J verse over a horror movie beat. Through the song, Violent J is creeping towards the woman he prank called. Then the song mentions how the governor took everything he had and now the ghetto freak show is creeping into the suburbs. Again, this is what I don't understand. Is the Ringmaster involved in the ghetto freak show? Is ICP socio-political or psycho-spiritual or a weird combination of couched in a circus theme? I am very confused.
13. Love Song
ICP's version of a love song. Violent J insults his woman while saying he loves her. ICP's version of "Me and My Bitch" by Biggie. Nice interlude between the songs with hidden meanings. This song is upfront and simple and psychopathically romantic.
14. Bugz on My Nutz
Shaggy 2 Dope and Violent J with sex rhymes about catching STDs. Two tracks in a row that are not serious and not about the Ringmaster or the ghetto freak show. I wonder if ICP fans are divided on the type of songs they like - the songs with deep meanings or the songs with surface level meanings.
15. House of Mirrors
We are back to the carnival theme. The subject of the song dies and now has to view themselves in house of mirrors. The mirrors reflect their biggest fears back to them. Additional by Capitol E, who drops a clear yet complex verse. I liked his verse. Again, ICP are targeting the rich and privileged in their rhymes. More socio-political-psycho-spiritual premises.
16. Ringmaster's Word
This instrumental loops a carnival theme beat with lines that seem to be from a vampire movie. The beat is pretty cool. Overall, I dig this song. Interesting way to close out the album. But what does the vampire have to do with the Ringmaster?
Welcome to part 2 of my trip into the Psychopathic Records discography. As a reminder, I am listening to the Insane Clown Posse and other Psychopathic releases for the first time ever and writing my initial opinions, attempting to give unbiased and honest reviews.
Today's journey takes us to 1993 and ICP's second release, Beverly Kills 50187. This is a short album with only 6 songs, although each song is 5 to 8 minutes long. Whereas Carnival of Carnage, ICP's first album, had a major label look, this album does not. It looks very bootleg.
1: Beverly Kills
First off, I like the references to the Warriors movie right in the start. This is before Puffy did the same on the "Flava in Ya Ear" remix. But instead of "Warriors", the voice calls for "Jugglers". This song has an NWA-like sound, especially Easy-E and MC Ren. ICP again goes right into the clown/carnival visuals.
This song has a lot of different changes and breaks in it, credit to the producer. The second part of the song deals with Shaggy 2 Dope's misadventures in taking out his anger on his classmates in high school. There is also the first mention of a Joker's Card, which I know is an ICP thing.
2: 17 Dead
This song starts with someone waking up and then listening a positive message. Then it breaks into a list of tragic murders, saying that the media doesn't care unless they happen in the suburbs. The chorus emphasizes the social rift between the "safe" suburbs and the horrible, murderous inner city. Then Violent J discusses attacking the suburbs and America for their lack of concern. Definitely a song about social revolution and retribution. Not as carnival-clownish as some of their previous songs. This song has a message.
The track concludes with a freestyle full of joke raps by Violent J and Shaggy.
3: The Stalker
I like this beat. The content is a bit weird, about stalking women. Another mention of a Joker's Card. Is this supposed to be scary in a horror way or in a predatory way? Am I supposed to think the girl led him on and he is trying to get her attention. I am confused.
4: In The Haughhhh!
This song has a very disjointed beat. Almost like dubstep. Interesting mention of Zug Island, which I think is another group on Psychopathic Records. The song seems like a message to people ICP does not like and again to those who ignore the plight of the inner city.
Again, however, I am not sure if the Insane Clown Posse wants the inner city to change. There is no hope in their music. Similar to death metal with lyrics of war and destruction. Is there no other way? From ICP, I get the impression that there is not. Which is interesting for hip-hop, most of which aspires to change their environment - to use that anger for social change. ICP seems to embrace the negativity of the inner city as a permanent way of life. That's why I struggle with whether or not they are exploiting struggle of the inner city or not.
Then the song beat changes drastically to a funk-like vibe. I like how it tails off at the end of the song.
5: Chop! Chop! (with Esham)
Another song with a horror movie meets funk type beat. Interesting sample of "swing, swing, swing, and chop, chop, chop" which Ice Cube used twice, once on 1991's Death Certificate and again on 1992's The Predator. Another song about wicked clowns unleashing chaos on their environment. While the beat is cool, not the biggest stretch lyrically.
6: Joke Ya Mind
The piano here is a nice touch. It gives a sense on somberness to the song. As does the slow delivery of lyrics. The lyrics have a surrealist feel, where the joker clown is ruling the world and things such as chocolate soup with a fruit loop exist. Another mention of the clowns coming to town to wreck havoc on the rich suburbs. Sounds like revolution again, but without the substance. Is the revolution supposed to be a mass riot, or lone wolves? I did this song musically, with the piano and the synthesizer, but again the content confuses me although did get the impression it was a dream sequence from the beginning and end skits. Is that how I am supposed to interpret all ICP songs? Are they all nightmarish dream sequences of people living in negative circumstances?
The album ends with a two minute return to the beat from The Stalker. Which as I mentioned, I thought was a very cool beat.
Overall, I thought this album was ok. There were some good beats, but the lyrics did not seem to progress at all from Carnival of Carnage and I am still trying to figure out ICP's purpose: are they revolutionaries trying spark the lower class to overthrow the upper class (like the movie Joker), are they chaos agents, are they a dream sequence, are they like Medieval artists depicting twisted Devils on Earth, or are they just good, old fashioned horror that attacks quiet, safe middle America (a la Freddy Krueger)?
My first venture into the immense catalog of the Insane Clown Posse begins at the beginning at the Carnival of Carnage, ICP's 1993 release. This is ICP's first CD as the Insane Clown Posse and it was released on Psychopathic Records and distributed through Island Records.
My first thought is that ICP was ahead of their time by already having a record label in a time when most rappers were beholden to draconian record executives. Smart move, and probably why they have been so successful in the underground.
On to the album ...
Track 1: Intro
Cool. A novelesque introduction. Sets up the concept of something different coming. A bit doomsday, but definitely piques interest. I will either be down or want to run away. Let's go.
Track 2: Carnival of Carnage
Interesting beat on this instrumental. Their production is putting in work here. An assault on the ears like a Public Enemy track.
Track 3: The Juggla
First track with lyrics. I like the mention of Violet J being mentally unstable - very Geto Boys or Heltah Skeltah "Therapy. Apparently, the Juggla is not to be messed with. Violet J has a very Ice Cube nursery rhyme flow if he was part of a very twisted circus.
Track 4: First Day Out
This must be Shaggy as this is not the same voice as the first song. This flow is not as good. Like Easy-E's self-written songs compared to the songs Ice Cube wrote. Way too disjointed. The romantic segment had a better flow than the actual song. Eh.
Track 5: Red Neck Hoe
ICP doesn't like southerners. Especially not racist southerners. This is Shaggy with a better flow than the previous song. The girl actually has a red neck. Ok, rhyming Conway Twitty with titty made me laugh. Halfway through the song the beat changes completely, as Shaggy goes off on racists. Then the song goes back to the laid back harmonica-driven beat with the weird chorus. Shock value with a hidden message.
Track 6: Wizard of the Hood
I think this is Violet J again. This is a nice flow on a nice club beat. Very MC Ren-style flow. This might be best song so far. I like the taking of the Wizard of Oz story and adapting it to the ICP story. But is it exploitative of low income areas? Do ICP consider themselves the twisted CNN of Detroit or are they using violence in low income areas for shock value? Track 7: Is that you? (with Kid Rock)
Violet J again. Then a Kid Rock sex verse from before he got big. Then Shaggy. I like this beat.
Track 8: Psychopathic
This song has a very interesting beat - Funkadelic meets Halloween. I am getting used to the ICP style of lyrical braggadocio - murder, mayhem, and sex.
Track 9: Guts on the Ceiling
Another horror score beat. Not sure what the lyrics mean. His body has been blown up all over the city. Is there symbolism I am missing? Does this mean he lost his mental will for life due to low income difficulties? Maybe he lost a part of himself due to tragedies in different parts of Detroit. Or maybe I am thinking too much. Maybe this is just a twisted version of A Tribe Called Quest's song about losing their wallet in El Segundo.
Track 10: Never Had It Made
I like this beat. Shaggy raps about his struggles growing up. Of course, everything is exaggerated. Then Violet J gives his take on growing up in the hard streets of Detroit then going to jail then going to the electric chair. Then of course, he comes back and kills more people. Like Jason Voorhees if he was a John Wayne Gacy.
Track 11: Your Rebel Flag
Violet J is on another killing spree. This time his target is rural southerners again. Shaggy echoes the notion with rhymes about killing rednecks. They don't say why they hate redneck/hillbillies besides the fact that they are bigots and racists although I don't think ICP is into deep socio-political rhymes. But it is interesting to hear white rappers go after other white people. Do ICP associate as white rappers?
Track 12: Ghetto Freak Show
This beat doesn't do it for me. Very disjointed. The lyrics are pretty similar to the shock value murder raps of other songs. "Insanity's grip will never let go, here is your chance to get a glimpse of the ghetto freak show" seems to sum up the entire album so far.
Track 13: Taste
This beat is super cool. This song features ICP associates Jump Steady, Capital E, Nate the Mack, and Esham with Shaggy and Violet J. Jump Steady has a nice flow as does Capital E. This whole song is about bringing the experience of the inner city to the suburbs. Instead of changing the inner city as much hip-hop advocates, ICP and their boys advocate bringing tragedy to the upper class. Not sure if this is the most effective way to bring change to their predicament.
Overall:
Interesting album. Better than I expected. Musically, some of the beats were good. Some were not. It does have a very raw, early '90s sound, which was expected. Structurally, ICP's rhyme styles were a bit simplistic, but many others were as well in the early 90s. I was impressed by the overall theme of the album. ICP's story as insane, tortured murderers on the loose in the suburbs and the south was consistent, although their backstory is a bit weak, similar to a low budget horror movie. From what I can guess, they were also the first group to run completely with what would be known as horrorcore, predating the Gravediggaz and Flatlinerz by a few years.
I don't think this album would have made me a big fan of their's had I heard it in 1992 but 28 years later, it's not bad. Let's see how or if ICP grows as rappers.
Although they have been around for nearly 30 years, I know very little about the music of the Insane Clown Posse. I know they are predominantly independent rappers who through the years have built a large following. I know they hold festivals and political rallies and have been on the FBI's gang list (fairly or not) for at least 10 years.
But I still know very little about their music.
A few weeks ago, I was given a large collection of CDs. Included in the collection was 62 CDs from ICP and other Psychopathic Records acts to include Twiztid, Blaze Ya Dead Homie, Anybody Killa, Esham the Unholy, Zug Island, and others. There are also mixtapes, soundtracks, and solo albums.
If I ever wanted to learn about ICP and their affiliated acts, this is the perfect time.
In the name of fairness, I am going to go through each act in chronological order and write a quick review and possibly grade each effort. Then I will make a cumulative list of which albums and acts I liked best or didn't like. My goal is to be as honest as possible.
I have no idea how long this project will take. It could take weeks, months, or years. I might never finish. But at a minimum, I would like to listen to ICP and Twiztid's official catalogs. They are the biggest collections of the allotment.
About me: I am a longtime hip-hop fan whose collection is predominantly old school NY acts such as Wu-Tang Clan, Nas, Biggie, Def Squad, and Duck Down Records. My initial thought is that ICP and acts may be like the Wu-Tang Clan and their affiliated acts such as Sunz of Man, Killarmy, Killah Priest, La The Darkman, GP Wu, Shyheim the Rugged Child, and the Killa Beez. But I assume they are more into shock value like early RA the Rugged Man (whose work I enjoy) or early horrorcore group the Flatlinerz.
I am curious and somewhat excited. I like checking out new music and trying to figure out the ICP allure will be interesting.
I have been a Hip-Hop fan since the early 1990s. I remember being into MC Hammer and the Fresh Price in middle school which led to liking LL Cool J and Public Enemy in junior high. By high school, I was engulfed in Hip-Hop, collecting everything I could of Wu-Tang, Nas, 2Pac, Redman, and Ice Cube. I traded tapes, borrowed CD's, and recorded radio shows.
But as a white middle class kid in the Florida suburbs, I was detached from the core of hip-hop. Even though the content of hip-hop spoke to me - the idea of getting out of your current struggle and making life better - hip-hop was never really mine. I could enjoy it, I could talk about it, and I could be as big of a fan as possible, but I could never be truly of the culture.
As I grew as a Hip-Hop fan, I started participating in the culture. I wrote freelance articles on local artists, I posted youtube videos of local concerts, and I even got to interview legends. Meanwhile, I grew frustrated with those appropriating the culture. People who looked like me from my upbringing in White America claiming Hip-Hop for their own and never acknowledging the roots of the music or giving back in any way.
Hip-Hop, while being open to all cultures and people, is protective of its cultural roots, possibly because Black culture saw what happened to the Blues and Jazz. But Hip-Hop can't protect against all those who rock the music but miss the message.
White Hip-Hop fans need to call out people who look like them who are disrespecting Hip-Hop.
My least favorite offenders of Hip-Hop appropriation are white middle aged women, typical "yoga moms". Yoga moms are as far removed from the struggle of Hip-Hop culture as possible. Many have come from comfortable middle class upbringings, went to predominantly white colleges, and live in predominantly white suburbs. Yet they have claimed parts of Hip-Hop for their own without adding anything to the culture.
I though nothing could be worse. Then I saw a predominantly white yoga studio poll its instagram followers whether they should hang up a portrait of deceased Hip-Hop and R&B legends.
No. No. No. No. No.
That's not yours. You shouldn't have that and you shouldn't hang it up. And leave Hip-Hop culture alone.
I haven't written about music in a while, but a new Ice Cube album is great reason to get back to it.
I grew up on Ice Cube. Without knowing anything about Ice Cube, The Predator was the first CD I ever owned. I asked for it for Christmas 1992 on the strength of the Wicked video. I didn't know anything about Cube's history, NWA, or his political views. For a suburban white kid who owned MC Hammer, Kid'N'Play, and the Fresh Prince, Ice Cube was eye-opening. He was punk, metal, and everything my parents didn't want me to listen to.
(This was when rap surpassed heavy metal as White America's most objected music. Parents went from being scared of Satan and suicide to objecting to anti-police and pro-Black messaging. The early 90s were an interesting cultural zeitgeist.)
After Cube's Lethal Injection album, I tuned out. I migrated into a rock/post-grunge phase only picking up the occasional Wu-Tang, Def Squad, or Boot Camp Clik album. By the time I got back into hip-hop, Cube was making club songs with the Westside Connection and had gotten into acting. He wasn't the angry political commentator of years before.
With the election of Donald Trump, I predicted political hip-hop would make a resurgence. The anti-Trump movement was too powerful for hip-hop not to capitalize. Sure enough, artists who have rarely been political such as Snoop Dogg have released songs or images bashing President Trump. With that in mind, an Ice Cube comeback was not surprising. It was almost expected.
Ice Cube has an interesting background with Donald Trump, however. Besides citing Trump as a rich stereotype in a song (as most rappers in the '90s did) , Cube was also misquoted as supporting Donald Trump in a 2016 interview. In the interview (see below) Cube says "Trump is what every American aspires to be" but advises that Trump will have a problem relating to poor people.
Ice Cube wasn't angry at Donald Trump in 2016, although he did later tweet that he would never vote for that "m*therf*cker". So where does the anger at Trump come from? The song "Arrest the President", while good, lacks detail. None of the verses back up Cube's claim that Trump is Russian intelligence.
Where Ice Cube does have legitimacy is his anger towards white supremacists, who he talks about in "Arrest the President" and in "Chase Down the Bully". Cube discusses their hypocrisy and their bullying tactics and meets their aggression with his own.
Other positives on the album are the Parliament tribute "That New Funkadelic", "Everythangs Corrupt", and the final track "Good Cop, Bad Cop", which quotes Ice Cube's verse in NWA's "F*ck the Police".
After the aforementioned songs, the rest of the album misses the mark. After going for the jugular and attacking the President and the enforcers of systematic racism, Ice Cube then attacks drug dealers and users. That angle might have worked in NWA's "Dope Man", when Ice Cube's vision was limited to the streets of Compton, but with a huge platform and a vision from the boardroom, Ice Cube should be attacking the systems that keep people poor and on drugs. Instead of going after pill users, he should be going after doctors prescribing or corporations producing and marketing opiods and other drugs.
Another negative I have with the album is that Ice Cube doesn't dip into the well enough. Although he quotes his "F*ck the Police" verse in "Good Cop, Bad Cop", he would have been well-suited to drop other references to his classic works throughout the album. He would frequently reference his previous albums during his prime, I am not sure why he opted to do so now. This would have made his intro much stronger, where instead of saying he is the Super OG (his new gimmick name), he could have said the N*gga You Love to Hate (his old gimmick name).
Other problems I have with the album include Ice Cube's lack of song direction and lyrical missteps. For example, the song "Fire Water" is particularly a mess. It not about anything and during the journey to nowhere Ice Cube calls Princess Leia a "crazy bitch". Why did Ice Cube think calling a feminist hero a crazy bitch was a good idea? With so many other crazy women to choose from (any on reality TV, for example, or a Kardashian), that was one example of a really bad lyric.
"it's not even fair at the state fair" - "Arrest the President"
"Nobody serving Cube but maids and waiters" - "Streets Shed Tears"
"Yup, the guys call me Samson, I'm dangerous with a Samsung" - "Non Believers"
I hate to say this, but Ice Cube may have needed a co-writer.
Everythangs Corrupt is not Paris's Sonic Jihad, the Coup's Party Music, or anything from Public Enemy or Dead Prez. It also definitely isn't Kendrick Lamar's To Pimp a Butterfly. Socio-political rap has soared since the days of AmeriKKKa's Most Wanted. Early in his career, Ice Cube kicked in doors and continued where he left off with NWA. These days, he seems to have lost his fastball. His best now would be an average track on his first four albums.
Perhaps on his next album, Ice Cube needs to dip further into his past. Releasing a track with Chuck D would be helpful. Having cameos from Paris and Kendrick Lamar would great as well. Not since Mack-10 has Ice Cube brought up new rappers, maybe the time is now.
But then again, when you have your own basketball league bankrolled by the Qataris and you have another Friday movie and another Ride Along movie coming out, maybe you only have energy for one good pitch per album. Maybe you want to save your fastball for other fields.
Of course, I can't hate on Ice Cube for putting his energy into his other passions. The Big 3 and his movies have done very well. He is a multi-media superstar who has transcended music and become an entertainment icon. But can hip-hop take an entertainment icon seriously? Should listeners believe Ice Cube is legitimately angry at the system that has paid him millions?
I do believe Ice Cube still has some anger left in him. He still looks at the world through his perspective. But I believe in his time away from music he has regressed as a socio-political voice in hip-hop. Whereas in years past he could make an album that had meaning from top to bottom, today he is good for a few good songs and a solid tribute to George Clinton.
For most of 2018 I lived in Doha, Qatar. Life in Doha was an amazing experience, full of cultural and culinary exploration. Doha is a beautiful city and a melting pot of various cultures and people.
But something was missing. Despite the beautiful skyline, expansive malls, and elaborate museums, sometimes Doha seemed fake, manufactured, and prefabricated, especially in entertainment. In my 9 months there, I only twice saw signs of an underground scene. I don't mean a subway, metro, or tube - Doha is building an extensive underground metro that will connect the city and possibly reduce traffic. What I am talking about is local entertainment. Especially entertainment that takes a stand and talks about struggle.
Like most Arabic cultures, Doha imports a lot of entertainment. There are DJs, dance clubs, and top 40 radio stations. International performers are brought in for concerts and performances.
EDM doesn't talk about the struggle. Top 40 rarely talks about the struggle - often quite the opposite. Very few English-speaking songs played in Qatar talk about the plight of the working class, although I was surprised one morning when the English Qatar National Radio played Dolly Parton's "9 to 5", a song about a woman's grind in the labor force that contains lyrics such as "It's a rich man's game / No matter what they call it / And you spend your life / Putting money in his wallet."
The closest I found to underground, anti-establishment entertainment was a local comedy show where comics poked fun at Qatari culture and a local rock concert. Both of these occurred in international hotels, where non-Qataris can congregate and enjoy alcohol and other things forbidden under Sharia Law. Of the two events, the rock concert was the most counter-culture, especially when a group of Filipinos covered songs from Rage Against the Machine. I did not expect that at all and I wonder if their selection was noticed by management.
While popular Qatari entertainment avoids stories of the lower class, many laborers in Qatar live in squalor, in poor neglected ghettos where men are packed in until their multi-year labor contracts expire. Amnesty International and other watchdogs occasionally publish reports on the conditions of immigrant workers and are usually the only outlets that broadcast their stories.
I would be very curious to know how many of the immigrant workers in Qatar's Industrial Zones are musically inclined. I wonder how many have instruments. Are they singing about their plight? Are they composing rap songs or poetry describing their conditions? It will be interesting to hear ifQatar's new Asian-speaking radio stationsplay any songs of struggle.
Coming from America, I found the lack of struggle in popular entertainment in Qatar very odd. American music is often full of struggle, from folk to punk to blues to hip-hop. For the first 100 years of American commercial broadcast, the struggle sold. It was music people could identify with, as America is a land of overcoming odds, rolling sleeves up, and the pursuing happiness.
Perhaps Qatar doesn't want people to hear the plight of workers or the lower class. Perhaps the government - specifically the Cultural Ministry - only wants people to see a crown jewel of the Middle East. They want Qatar to shine. Perhaps the powers that be in Qatar are scared that if enough people hear songs about the lower class, they will grow apathetic to their plight, or there may even be social change. Monarchies don't like social change unless they can control it.
That's why there is no underground in the desert. Because the underground has the potential to rise, and when it does, it often conflicts with power.
A few months ago, rapper Joyner Lucas dropped a video for his song "I'm Not Racist". The video was a viral sensation, stimulating discussion in hip-hop circles and in the mainstream, to include CNN.
If you haven't seen it, here:
It is definitely a provoking video, touching many third rails. It should make you think. I've been thinking abut it for a while, and am finally writing about it now.
The only conversation that can do that is white people talking to other white people to try to find a way to be less awful to black people
That makes sense if you understand that the entire global capitalist system we live in is a white culture invention. For centuries, global leaders were white and did things in the interests of their more powerful kingdoms and countries. Leaders of non-white countries weren't even part of the conversation.
Along with Damon Young, other rappers wrote their own verses for Joyner Lucas's black man, expressing what they though he should have said. Rapper Mysonne's was perhaps the most viewed and impressive.
Mysonne has some strong points here, although I think they are less effective to the white audience he is trying to talk to.
There is no way for me to speak for all white people here. I can't do it. I won't do it. But what I can do is describe how I feel about the issues based on my background and influences and attempt to describe some of the people around me and why they feel the way they do. And then conclude with why I think Joyner Lucas's spoonfed approach is better than Mysonne's hammer.
I embraced hip-hop in the early 1990s. Hip-hop was growing, it was fresh, it was different. It was also thought provoking. I was feeling stagnated in my predominantly white Florida suburb and knew it wasn't the place for me. My town was great for families and some of my friends, but I didn't see a future there. I listened repeatedly to songs about getting out of the ghetto like my white suburban town was my personal ghetto.
Right after high school, I joined the military. That adventure led me to college, then to city life, and then to a job that required world travel. My career path has forced me to open my mind academically and socially. I wouldn't have it any other way.
Unfortunately, not all my white friends and family have had those experiences. Some stick to the rivers and the lakes they are used to.
A few years ago for example, I had a white friend drunkenly say "I wish I was black for a day, just to see what it's like."
Even though I had been drinking as well, that statement sobered me up and stopped me in my tracks. Cold. I wasn't about to get into a deep philosophical discussion with her about why what she said was the most white privilege thing she could ever say or why it was horribly ignorant. After a day's worth of drinking, nothing good could have happened from that. So I let it be. But years later, it still bothers me.
I don't wish to be any of my friends. Be they black, white, rich, poor, gay, straight, man, woman, tall, or small. I might wonder what it's like to have a wife, a minivan, and a house full of children, but that's a lifestyle, not a born condition.
Back in the wonderfully innocent 1980s, there was a movie entitled "Soul Man" starring C. Thomas Howell. In the movie, Howell's character dyes his skin and he acts "black" in order to win a scholarship to Harvard. Although the movie is full of awkward hijinks and social commentary, the most powerful part is at the finale when Howell's character has a conversation with James Earl Jones' character about the black experience.
"I don't really know what it feels like, sir. If I didn't like it, I could always get out."
The closest I ever came to experiencing systematic discrimination was while I was in Afghanistan. Work culture on military bases in Afghanistan is very hierarchical. US Military personnel are on top, foreign military personnel are second, followed by US contractors, then foreign contractors. As a US contractor, I couldn't take the US military bus around the base, I couldn't use the better military doctors unless there was a life-threatening injury, and I couldn't eat at the dining facility at the same time. All because of my label.
I didn't like that very much. I didn't have the freedom to eat when I wanted or see the doctor I wanted. I had to use the facility that was for "my people". Perhaps it was "separate but equal", but the separation was not something I was used to.
Fortunately, when my time in Afghanistan was over, like C. Thomas Howell's Soul Man, I could return to my white American comfort zone.
Also in Afghanistan, I would often speak with one of our translators, a young member of the Hazara tribe of Afghanistan. The Hazaras are among the most persecuted people in Afghanistan. Both ethnic Pashtuns and the Taliban targeted the Hazaras and attempted to "ethnically cleanse" the group.
During one conversation, my translator friend told me one of the most eye-opening things I have ever heard. He said the election of President Obama in 2008 gave hope to the Hazara people. According to him, the Hazara felt that if a black man could become President of the United States, then perhaps one day a Hazara could become president of Afghanistan.
That is the type of social advancement and trailblazing America should be doing. We should be empowering not only our own people, but we should be an inspiration for the discriminated and downtrodden around the globe. America should be the land of opportunity, where your potential is determined by your input, not where you were born, the color of your skin, your religion, or the school system you are near.
Of course, a country as wide and diverse as America will always have different points of view. We will never be unified in thought. Some of us prefer a day on the farm and some prefer a day at the beach. Some want to live a life of quiet solitude and others want to be knee-deep in the hustle and bustle of metropolitan life. What we do for fun and what media we consume typically aligns with that lifestyle.
And that brings me back to Joyner Lucas and his video. For those who are comfortable in our society, media that expresses views that society is not acceptable for everyone is upsetting. It is easier for those who are comfortable to listen to music that celebrates their comfort status. That's what country music does. It celebrates the present - the small town, the pretty girl, the pick-up truck, and the complacent country lifestyle. Country music is very conservative. It does not aspire for progress.
That's why many white people like it so much.
Counter-culture music requires upsetting thought. Be it punk, hip-hop, metal, or folk music. Counter-culture requires unpacking and seeing things from other perspectives. Not every white American wants to be challenged to do that. Hence sometimes media that slowly opens up conversation is a better way to inspire change, kinda like hiding a pill in ice cream.
Joyner Lucas's song is safe and easy to digest. It takes elementary school social understanding. Mysonne's verse, while important, requires grad school level social understanding. A lot of white culture is not ready to have that conversation, no matter how many non-white people scream they need to.
Unfortunately, when scared, white people can retreat to their bubble. They can go back to listening to country music and hanging out in an all-white world. As a white person, let me tell you, it is easy to do. It is also lazy. White people should do better.
There are a lot of great things in America. But there is a lot our predominant culture still needs to work on. We need to keep moving forward and we need to understand each other. "Others" are not going away. If understanding them requires baby steps, then take baby steps. If that means jumping into deep philosophical literature, then do that.
But while you are here, listen to Joyner Lucas's "I'm Not Racist". Understand his point of view. Listen to Mysonne's remix. Understand his contribution and point of view. If you need help, ask a friend. Have a conversation. It's easy if you try.
