• » Name: William E. Ketchum III
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Speech Is My Hammer...

Lupe Fiasco, "Dumb It Down": Revisited

As many of you (should) know, Lupe Fiasco's The Cool was one of my favorite albums of 2007. In a post on my Blogspot upon the leak of his debut Lupe Fiasco's Food & Liquor, I briefly touched on why he's so far ahead of his peers, but a revisited in-depth listen to "Dumb It Down" makes me feel obligated to do so again. While speaking to my man Alias on the phone last night, we were chopping it up about how the first verse of the song really breaks down his relevance and existence in the rap game through the song. My blogging homie J Burnett [1] said that when he interviewed Lupe for XXL, that he said that he intentionally made this track as complex as possible, but once you really absorb it, it's crazy. The verse (taken from OHHLA, whattup Flash!), with reference points bolded:

I'm fearless, now hear this, I'm earless (less)
and I'm peerless (less), which means I'm eyeless
which means I'm tearless which means my iris
resides where my ears is, which means I'm blinded
But I'ma find it, I can feel it's nearness
But I'ma veer so I don't come near
Like a chicken or a deer, but I remember
I'm not a listener or a seer so my windshield smear
Here you steer, I really shouldn't be behind this
Clearly cause my blindness; the windshield is min-strel
The whole grill is roadkill, so trill and so sincere
Yeah, I'm both them there
Took both pills, when a bloke in a trench coat
and the locs in the chair had approached him here
And he clear as a ghost, so a biter of the throats in the mirror
The writer of the quotes for the ghosts
who supplier of the notes to the living
Riveting is rosy, pockets full of posies
Given to the mother of the deceased
Awaken at war, 'til I'm restin' in peace

Lupe claims that he's earless and eyeless, which means he's so far off from what's going on around him in the industry, that he's relatively oblivious to it - he can't see or hear it. He also claims that he's peerless, slyly implying that he's ahead of the curve. The car in the song is a metaphor for hip-hop, and where it's going. He says he's going to find "it," meaning the rap industry and his place in it, but that he's also trying to stay away from it, like a chicken or a deer.

Lupe's "not a listener or a seer, so [his] windshield smear(s)" - he's too far off to understand/comply with where hip-hop is going, so his viewpoint is unclear. So, he sarcastically suggests, "Here you steer, I really shouldn't be behind this, clearly cause my blindness": essentially, "Hey, why don't you [place rapper here] go ahead and do this rap shit, because I'm somewhere else." He then basically says that rap's windshield is some minstrel show shit (word to LB), and that it's so misguided itself that the car's whole grill is full of roadkill - also implying that it's run over emcees like him who are a chicken or a deer, and dare to do things differently.

With this struggle between staying away from an industry that seems so offbase from his own beliefs and wanting to find his place, he cleverly alludes to The Matrix, when Neo had to choose between two pills to determine his destiny and that of the other world: Lupe took both. And this struggle will forever haunt him - "Awaken at war, 'till I'm restin' in peace."

Give me a late pass if y'all want, or if this was painstakingly obvious to y'all all along. But with how much I was already amazed at the wordplay, rhyme schemes and delivery in the verse, I'm trippin' even more at how metaphoric that shit is once I break it down. Mr. Editor, sir, have Lupe read this and let me know how accurate/inaccurate my interpretation is to his original intentions, 'cause I wanna know.

Do you guys have any interpretations of the meaning behind the last two verses? Also, any other verses you guys had to revisit much later befofre you really understand what the fuck he/she was saying?

--
[1] Yes, I linked to both of his blogs. Dude's doing his thing.

36 Comments             

Five Tips For (Wannabe) Hip-Hop Journalists

After some recent meditation, I realized that I’ve been doing this hip-hop journalism thing for a minute now. Not Kim Osorio, Jake Paine [1], Brandon Perkins or Adisa Banjoko “for a minute,” but since about early 2003, when I first got to college. I admit that I was pretty wack at first, utilizing overused words in my album reviews and dickriding MCs (pause) in my interviews. But over the years, I’ve gotten a lot better. I’ve learned how to describe albums as well as anybody (well…Aqua Boogie’s still killing me, but that’s not the point), and I think I’ve knocked out quite a few classic interviews, if I don’t say so myself. After getting bylines in the likes of XXL, URB, SCRATCH and more, while I’m not the best writer that I can be just yet, I’ve even taken the step of mentoring younger, up-and-coming scribes. [2]

While I’ll be the first to say that my writing isn’t as good as it can be just yet, I’ve been able to soak up game from all of the aforementioned names and more, and I’ve got advice to offer from it. And from the looks of it, a lot of these new mufuckas need it. With blogs as abundant as busto bitches and editors hiring their boys to write about rap (word to Mark Lelinwala, you told me that exact quote like three years ago), the game needs saving.

Be punctual, professional and accountable. This is crucial in any job, but for whatever reason, a lot of people feel like it isn’t as important in hip-hop. Even though rappers don’t always follow this rule themselves, you should always handle everything you can on your end to make sure everything happens the way it should. Solid tees and Timbs may be tolerable in your hip-hop magazine’s office, but showing up at interviews two hours late and blowed isn’t a good look, even if you’re interviewing Snoop himself.

You’re Not a Star. You’re not Sway, Amanda Diva, or Carson Daly just yet, homie. You cover the stars; if you want fame, you’re in the wrong business. In this industry, if you’re not one of the aforementioned names, no one gives a fuck about you, aside from your editors or maybe a few loyal readers; niggas don’t read bylines no more. [3] Focus on doing your job well, and if it’s meant to be, popularity will come.

Do Not Do This To Say I Met (insert rapper here). Too many mufuckas just get in this business to mingle with the “in” crowds, and that’s fucking up the game on various levels. You’ve got “journalists” who are hotly pursuing artists not so they can deliver a great story, but so they can kick it with these cats and brag about it back on the block. Relationships may form with artists as you interview them for various stories, but even that’s not guaranteed. As legendary music journalist Lester Bangs said it best: These aren’t your friends.

No Free Lunches: This is another universal journalism rule, but can be especially crucial in hip-hop: don’t take shit from people. Don’t let an artist buy you gifts, and don’t let an A&R get you a drink at the club. Because as soon as you take, you’re expected to give. Whether it’s a favorable review, excessive coverage of bullshit, or whatever. I don’t care how tempting that dinner at Justin’s is.

Be a journalist, not a robot. Let’s face it: a lot of these artist interviews in various media outlets are wack. Sometimes it’s because the interviewer is friends with the artist and doesn’t want to ask tough questions; sometimes it’s because the interviewer is too busy tripping out that this cat has more money than them; and sometimes, they’re just bad journalists in general. But ask these people the tough questions. Trust, it’s high risk/high reward task: when I asked DJ Quik about rumors that he ghost produced on The Chronic, he went on a huge tirade before angrily hanging up (after ironically, minutes before, complimenting me on my questions) and asking if he could do some drops for me so I wouldn’t ask him those questions. But when I asked Slum Village’s T3 why one of the SV albums was wack, he actually apologized and went on to tell me why the CD wasn’t as dope as it should’ve been. I’m not advocating shock value questions, but it’s fucked up when the best Jay-Z interview of the year is done by an old white man on PBS.

[1] Shouts for the assistance, homie.
[2] I know…youngsters are trusting me, now. Crazy right?
[3] But then again, did they ever?

14 Comments             

Jay-Z & Nas, "Success: The EP"

[1]

Excuse my recent Jay dickriding, no Gangstalicious. But homie has always been my favorite rapper, and after the disappointing (though not by any means “wack”) Kingdom Come, I’m really excited about this American Gangster shit. But more importantly, perhaps, are his recent heatrocks with Nas.

“Black Republican” was dope as hell, but “Success” was a new monster altogether. I don’t know if it’s their previous sampling of each other’s music, running in similar circles (and vaginas), or both of them being from NY, but their chemistry is incredible. It seems like their history as rivals only makes their records more compelling: they may have resolved their differences for the reasoning of making money together, but their competitiveness seems to come from both standard rap face-off fare and from a previous beef. Nas’ former flame was smashed, and Jay lost a battle by blowout. Not only do they have to prove something to fans and hip-hop aficionados: they have something to prove to each other.

So how ill would it be if they joined forces for an EP? It could be released on Def Jam, but pushed the same way that Jay is pushing American Gangster: no overtly commercial singles or T-Pain hooks, but just that real shit. Not a full LP, but a solid six to nine songs that are all bangers from top to bottom, that’ll leave listeners drooling for more but incapable of complaining cuz these fuckers actually sat down and did it. The possibilities! “Dead Presidents 3,” with Jay and Nas both updating their older flows and Nas playing off of the sample that the previous two used. Obligatory song produced by Kanye. A dual reunion with Primo: “NY State Of Mind Pt. 3,” or or “Friend Or Foe ’08,” with them being rival dealers. Maybe even an entire EP produced by Primo? Let’s not get too far ahead of ourselves. Detailed songs about their respective wifeys, Beyonce and Kelis. Maybe even a track that has each of them telling their experiences with Carmen Bryant, or some fictional joint about what could’ve happened. Even their braggadocio tracks would be incredible. The song ideas are endless, and with their dual veteran status, they’re more than capable of knocking out concepts. Album title? I’m taking ideas. But offtop, I’m thinking “Success.”

Shawn and Nasir, I want royalties. Paypal the kid.

--
[1] Shake, you're the man.

22 Comments             

Back To The Future

What's good y'all? This is my second week back at school, so with that, my still (attempted) takeover of the journalism industry, actually living this hip-hop shit (Including Rock The Bells, three shows last week, dogs, all in different cities. Acting like gas isn't cripplin' cats) and trying to do things like eating and sleeping too, shit's been crazy as far as time is concerned. Still, I thought I'd give y'all a brief rundown of what I've got in the works.

DJ Drama


Just in case y'all didn't see this yesterday, peep it. Me and Drama are homies, so in a HipHopDX exclusive, dude basically laid it all on the line. Highlight:

HipHopDX: Speaking of Wayne, shortly after the raid, there was an interview with MTV News where he said that you and other mixtape DJs had to “smarten up,” “play the game fair,” and to look at DJ Clue and Khaled as examples. A lot of people looked at those comments as disrespectful; have you spoken to him since then?

DJ Drama: ... I’m going to say first and foremost, I respect Lil Wayne, and when it comes to that microphone and what he does in that booth, the boy’s a problem. He’s on top of his game, I will never take that from him. But when the raid happened, and he made those comments to MTV, it was a stab in my back. ... I had issues with that, as did a lot of people, because a lot of people knew the impact I had on his career, there’s no denying that. Lil Wayne was definitely here before me, but niggas will tell you that they ride more to Dedication 2 than the Carters. Especially in a situation where…loyalty’s a lot, man. And when Wayne had those problems with Gillie, I made a decision on my own based on the work that me and Wayne had did when the nigga was tearing his ass. And for someone to turn around when I was at my low point, and say, “You need to do it right like Khaled and Clue?” OK, that’s what’s up, dog.
--

Next week: Will.I.Am

I nabbed uber-producer Will.I.Am for DX's Producer's Corner section (whattup Mel!). Homie's hilarious, and his realness is beyond measure. A clip:

HipHopDX: Eazy was a gangsta rapper; how did your sound progress from ghostwriting for him, to the pop-friendly sound you’ve established with Black Eyed Peas? How difficult was it for you to transition your beat-making like that?

Will.I.Am: When I was rolling with Eazy, I was just a straight-up killa. He found me straight from the streets. I had like two bodies under my belt, I was in and out of mothafuckin juvenile hall and shit, I was straight up rugged raw. I used to slang crack and mothafuckin twinkies and shit, robbed the liquor store. Then finally, I just started selling my shit out of ice cream trucks, and then the little kids used to run to the truck when they heard the ice cream song. I’m like, “Oooh, this is a hot little market here, this ice cream truck shit!” So with the Black Eyed Peas, I just took it to the next level, and just started making ice cream truck music. You know what I’m saying? Slangin’ mothafuckin lollipops. [laughs hysterically] I can’t even hold a straight face.
--

I've also got Salaam Remi talking about everything from Nas to his own pops' history in music, Sicknotes (Obie Trice, "Cry Now;" D12, "How Come") breaking down producing in the Detroit hip-hop scene, Khrysis (better than 9th? Just my opinion...), Oddisee (honestly, one of the illest producers in the industry, independent or not), and others. And that's just the shit that I'm actually telling y'all about.

As far as blog topics, future ones include:

Diggin In The Crates

(Don't worry, I haven't forgotten.)

Why "MI" State's Hip-Hop is Better Than Yours

Featuring Black Milk, Guilty Simpson, (both pictured), Royce Da 5'9", OneBeLo, Elzhi/Slum Village, Buff1, Othello, Mr. Porter, and much, much more. (And yeah, my hoodie game has stepped up a little bit)

William E. Ketchum III's interview memiors

Including, why I say that the post-1995 DJ Quik is a bitch. (As if the above album cover wasn't enough)

That's all for now.

Ya boy!

11 Comments             

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