I’m not often one to critique lists of rappers; personal opinion needs to be respected and maintained within the music business. HOWEVER, there are some times when I think it is entirely necessary to correct some mistakes and question the sheer absurdity of some decisions.
Which brings me to Billboard’s list of the 10 Greatest Rappers of All Time, a list which claims to rank the definitive rappers to have ever graced the planet. As a disclaimer, the list proclaims;
“We also have to note: we’re ranking rappers, not rap artists. That’s why Dr. Dre and Kanye West, for example, two legendary producer-artists who don’t match the mic skills of those listed here, were left out.”
Fair enough. You’re ranking rap ability and rap sales, I can deal with that. If we delve a little further, we can see the list in its entirety, which is as follows:
10. Lil’ Wayne
9. Kendrick Lamar
8. Ghostface Killah
7. Lauryn Hill
6. Andre 3000
5. Nas
4. Rakim
3. Eminem
2. Jay-Z
1. Notorious B.I.G
First of all, I am well aware how hard it is to narrow down the plethora of hip-hop talent down to a mere ten, but I think it’s necessary for me to discuss some glaring omissions, and bring into question the order of which these rappers appears.
1: Hov should not be this high.
I’m not going to sit here and question one of the most influential figures of hip-hop, but to have Jay-Z this high on a list solely dedicated to rapping ability seems a bit off to me. The reasoning behind this decision is also baffling;
“But nearly every year since, the Brooklyn rapper developed his craft, improving with each album by tightening his flows and developing his wordplay. Since then, he’s developed a remarkable discography with rhymes that continuously wow, delivering several classics along the way.”
Have Billboard listened to Magna Carta Holy Grail? Even Watch the Throne? It is clearly evident that Hov has not continued to improve his rapping ability with each release – and there’s certainly no more Blueprints on the horizon; I would argue that it is the opposite. Jay-Z raps are now ad-lib heavy, with MCHG consisting of so many non-lyrical “Uhhhhh” moments, that the tracks are fairly unbearable on that level alone.
[youtube http://www.youtube.com/watch?v=-Tq7iTn3P6U]
2 Where is ‘Pac?
Now Tupac is far from the greatest spitter, but to discount his rapping ability entirely is just absurd. There is no question that Tupac displays the rapping talent and lyrical ability that deserves a spot amongst the upper echelon. Of course we can sit here and argue his social and cultural importance; he is still as famous of a figure as he was in his prime, but for a list that ranks rapping ability, to be devoid of Tupac Shakur seems a travesty. Songs such as Changes demonstrate the ability and sheer talent of the man.
[youtube http://www.youtube.com/watch?v=Ay9BWM8lwOA]
Has Kendrick done enough to earn his spot?
Now, as my own little disclaimer, I am as big a Kendrick fan as they come. But I feel that I need to retain some impartiality here, particularly for such a contentious topic. I don’t believe that Kendrick has done enough yet to establish a spot here; yes, he is a socially and culturally polarising figure, and he has showcased a wide array of flows and musical styles, but his discography is not large enough to be in this discussion in my opinion. To even be mentioned among these names however, speaks to the euphoric and astronomical rise of K.Dot, and cements him as the greatest of the new generation.
Now, that being said, if he releases this track from the following Beats commercial, I might change my mind.
[youtube http://www.youtube.com/watch?v=thtPhtMcdlY]
Where on earth is Talib Kweli?
This is where I start to chop and change a little. Talib Kweli is one of the most talented rappers of all time, and his lyrical ability is second to none. This is a rapper who has been publicly lauded by the likes of Jay-Z and Kanye West for his own lyrical talent, and the fact that he is grossly underrated by the hip-hop community at large. As Jay himself proclaims on Moment of Clarity:
“Truth be told, if skills sold, I’d be lyrically Talib Kweli.”
If our criteria is solely based on rapping ability, I think it’s criminal to not include Mr “Talib lyrics stick to ‘ya rib.” Sure, he’s not the most mainstream artist by any stretch of the imagination, but his music speaks for itself, and he is still producing fantastic tracks to date.
[youtube http://www.youtube.com/watch?v=UVtpXvzzXiA]
Wake up Mr. West!
“I’m so Chi’ (shy) that you thought I was bashful”
Kanye West is one of those artists that produces music that delivers surprises with each new listen. Upon every replay, there is a lyric that surprises you, or a double entendre that rears its head. The talent that this man possesses on a rapping and lyrical basis cannot be argued with. This is a rapper who has made classic tracks with his mouth wired shut, and has experimented with genres, sounds and is ever evolving as an artist. Grammy’s and mainstream recognition and success aside, in my opinion it would be amiss not to include Yeezy on such an esteemed list; he has truly proven his talents and demonstrated a wide array of rap techniques.
[youtube http://www.youtube.com/watch?v=zpmfzgOSaXQ]
Of course, being a chart, the Billboard chart numbers were most likely the reason that these artists have been ranked as such – more so than based on say, industry respect, lyrical density and so on. it also explains why people like Kweli were left out. However, perhaps this list should have been more accurately framed as “the 10 most charted rappers” or the “10 rappers with the most Billboard hits” or something to that affect, rather than the ten GOAT.
Sure, perhaps our suggestions and tweaks to the list will be critiqued and lambasted too, but at the end of the day that is what is so brilliant about hip-hop as a genre, there is an eclectic mix of styles, genres and talent on display, and it’s only natural that we will be drawn to make our own conclusions.
Hip-hop fans have been relishing in beef these past few weeks. Not only have we had Ghostface Killah delivering a video blog threatening Action Bronson, but the recent shenanigans between Drake and Meek Mill have really captured the attention of hiphopheads and shown the new generation of fans what rap beef can entail. Compared to the rap feuds of yesteryear however, the actions of today are extremely tame, and are often confined to social media instead of on records or in the streets.
It’s our duty here at H&E to give you a crash course on the art of the diss track, and provide some historic examples of tracks that have defined what it means to come at another rapper in your music.
1. Nas, Ether vs. Jay-Z, Takeover
The feud between Nas and Jay-Z is perhaps the last true rap beef that we have been treated to as rap fans, and was one that became extremely personal and borderline violent. Two rappers from New York in their prime in the early 2000’s was always bound to cause problems, and these two rappers were eager to assert themselves as the true “King of New York”. Ether begins with Nas making his thoughts very clear, as a sample of “Fuck Jay-Z” is repeated throughout the track, while insults such as “How much of Biggie’s rhymes are gonna come out your fat lips?” shows that there really was no love lost between these two hip-hop heavyweights. No one is safe from Nas’ vitriol, even the namesake of Jay-Z’s label, Rocafella, who died of AIDS.
[youtube http://www.youtube.com/watch?v=0ePQKD9iBfU]
Ether was a direct response to Takeover, and these two tracks continue to divide rap fans. It is almost a certainty that if you asked ten fans which of these two songs is the better track, you would get results that are split firmly down the middle. Takeover in my opinion is a better track overall, perhaps just from a musical standpoint, and is still a song that I will listen to on its own merits, not just for its lyrical content. There are a multitude of heavy hitting lines directed solely at Nas however, “Your bodyguard’s Oochie Wally verse was better than yours, matter of fact you had the worse flow on the whole fucking song”, “Fell from top ten to not mentioned at all”.
[youtube http://www.youtube.com/watch?v=FAnGnevKxJE]
Sadly, modern rap fans are unlikely to see beef like this again in the future, but at the rate that Drake seems to be single handedly destroying Meek Mills career, who’s to say where the state of the rap beef is headed.
2. No Vaseline by Ice Cube (Directed at N.W.A)
No Vaseline is a scathing track, and is one that pulls no punches. No member of N.W.A is safe from the verbal barbs delivered by Cube, and you know that a diss track is perhaps a little over the top when insults and the introduction of the track are censored and removed from the released version. The track itself is a response to the N.W.A track 100 Miles And Runnin’, which describes Cube as historical figure Benedict Arnold, who defected to the British Army after originally fighting for the American Continental Army, referencing Ice Cube’s decision to leave the group following a payment dispute.
[youtube http://www.youtube.com/watch?v=bvRc7pwnt0U]
3. Who Shot Ya? by Notorious B.I.G vs. Hit ’em Up by Tupac Shakur
Now this is true rap beef, and an example of the violence that was prevalent within hip-hop during the 90’s, even on a mainstream level. The feud between Tupac and Biggie is well documented, and these two tracks serve as the culmination of years of hatred and disagreement. Tupac Shakur was shot in 1994 at a New York Studio, by who he believed to be an associate of Bad Boy Records, the label of Puffy and Biggie.
In what was a slightly more than subtle jab at Tupac, the track Who Shot Ya? was released, seemingly confirming that the shooter was indeed linked to Bad Boy, and that Biggie was claiming responsibility for organising the shooting. The track itself opens with a brutal sentiment, “Who shot ya? Seperate the weak from the obsolete. Hard to creep them Brooklyn streets. It’s on n*gga, fuck all that bickering beef”. It is definitely hard to imagine seeing Drake say something like this on a diss track these days; the violence associated with hip-hop is much more resigned to behind the scenes or underground circles.
[youtube http://www.youtube.com/watch?v=Y7yQwQtSN7M]
Tupac, not one to shy away from confrontation, and fresh from recovering from the shooting, fired back with arguably the most famous diss track that hip-hop has been treated to, Hit ’em Up. The track features the most iconic line of all of the aforementioned rap feuds, “That’s why I fucked your bitch you fat motherfucker”, an obvious jab at Biggie.
The video for the track itself features a Biggie lookalike which is insulted throughout the song by Tupac and his label mates. After firing off some more heated insults aimed at those behind his shooting, “Fuck your bitch and the clique you claim”, Tupac raps with an arrogance, and there is definitely an antagonistic tone behind his lyrics, “Who shot me? But the punks didn’t finish, now you about to feel the wrath of a menace”.
[youtube http://www.youtube.com/watch?v=41qC3w3UUkU]
While tracks like Back to Back have reignited a mainstream interest in rap beef, we are unlikely to ever see these feuds reach the levels that we have seen in previous generations, which is a shame from an entertainment and lyrical standpoint, but is probably beneficial for all parties involved, let’s keep these beefs solely within the music. That being said, Meek Mill, please step your game up.
Today would have been Tupac Shakur’s 44th birthday. One of the most iconic, talented and game-changing rappers of all time, his shooting rocked the world of hip hop, and the greater music industry as a whole.
To honour the day, artist Jhené Aiko (who will be in town for Soulfest later this year) has recreated a series of Tupac’s most iconic photos. It’s a touching and beautiful tribute to one of her idols.
Aiko was only eight years old when Tupac passed away, on 13th September 1996. In interviews she has stated that she became a fan after watching ‘Tupac: Resurrection,’ the 2003 documentary about his life.
Speaking to MTV News, she said, “I remember for one of my birthdays, my dad got me one of his poetry books and I was just tripping out because his voice is his own thing. Even if he didn’t write, his voice is powerful enough to stand alone, but then his words are the same thing. They’re powerful enough to stand on their own by just reading them. That’s something that I would like my words to be.”
Working with photographer Danny Williams, Aiko recreated Tupac’s three most iconic photos for MTV. They also ran an interview with Aiko about the influence Tupac had on her life, which you can read here.
The first image recreated Tupac’s iconic ‘All Eyez On Me’
The section photo has re-imagined the close-up image used on the cover of Tupac’s posthumous ‘Greatest Hits’, one of the highest selling rap albums of all time.
Taken right after he was released from prison in 1995, this photo recreated his “Becoming Clean” photo shoot, originally shot by David Lachapelle
Aiko has also covered her favourite (and to be honest, my personal favourite) Tupac song, Keep Ya Head Up. On the impact of the song, she says, “I remember when I was pregnant with my daughter and that song came on,” she says. “I just cried like never before. His words meant so much to me. I just felt like I needed to hear that.”
This is some pretty amazing rare, candid footage of the late, great Tupac Shakur. In this eight-minute video, watch Pac freestyle on the New York streets with his friends, happily chatting away, before approaching a street bootlegger. The bootlegger was selling Tupac’s own albums, and Pac starts explaining to the guy that he’s going to take his tape, and to stop selling it illegally. He shows the guy that he is in fact the artist on the album, and the conversation gets pretty loud. Tupac accuses him of stealing and explains that he has the right to take his own music from the bootlegger. Later on, there’s more footage of him chilling in a car with his friends, smoking spliffs, etc.
It’s not exactly a great quality video, but it’s amazing to watch regardless. There’s a lot of Tupac footage out there, but it’s not all as candid and casual as this. It’s pretty cool to see his attitude on the street like that.
In other recent Tupac news, a new documentary about the final days of Tupac’s life is currently raising money via crowdfunding website IndieGogo. Read more here, or click here to donate.
While it is still commonplace for mainstream hip-hop to deal with less than serious subject matter, the tides are turning for social and political influence amongst the rap industry, and the timing could not be better.
With the recent unrest in Ferguson, New York and Baltimore, it is extremely important that one of the most culturally significant art forms to the African-American population is used as a tool to voice the shifting mindset of the people.
Atlanta MC Killer Mike of rap duo Run the Jewels pushes the envelope when it comes to delivering politically relevant messages and challenging the foundation upon which the current racial injustice is built upon. RTJ are also known for their politically-charged lyrics and video clips, with the clips for Early and Close Your Eyes (And Count To Fuck) dealing with police brutality in confronting ways. On the much-acclaimed 2014 release of Run the Jewels 2, there are several tracks that attempt to open our eyes to the problems that plague the current social landscape.
Teaming up with another politically active heavyweight, Rage Against the Machine front man Zach De La Rocha for the jarring Close Your Eyes (And Count to Fuck), Run the Jewels delivered a visual message as well as the lyrics that flow from the lips of these established MCs. The video for the track makes for uncomfortable viewing; a black youth and a police officer wrestling between one another, each fighting for dominance and control, a microcosm of the current social hierarchy gripping the nation.
[youtube http://www.youtube.com/watch?v=PkGwI7nGehA]
“When you n*ggas gon’ unite and kill the police motherfuckers?” Mike asks on Close Your Eyes. This incredibly blunt statement speaks to the drastic nature of this situation, and the dire circumstances that young African-American men face. With incarceration rates at an all time high for black youth, it is vital that someone with the global reach of Killer Mike can speak to this injustice.
Killer Mike is incredibly self aware, and knows that any political message he spouts to the masses can be undermined by his name alone, particularly if they have no prior knowledge of his career and the industry itself. Addressing TV audiences, Mike (real name Michael Render) is quick to point out that his name is for killing microphones, nothing more, and nothing less. This may seem like an irrelevant point to draw attention to, but it is necessary to highlight his perceptiveness in these circumstances, and his desire to propel his message forward.
One of the most emotional and heart-warming musical images of recent times is a stirring speech delivered by Killer Mike after a grand jury chose not to indict a police officer accused of murdering an innocent African American boy in Ferguson. Although all the other musical acts cancelled their performance in protest, Run the Jewels took to the stage and through tears the group rallied the crowd in support of racial unity, and urged them to not stand for such injustice.
[youtube http://www.youtube.com/watch?v=MQs7CWKHM9w]
The track, Lie, Cheat, Steal further emphasises the fact that these youth can only be treated unfairly for so long, and that there is a dangerous situation at hand. The lyrics of the track reference civil rights icon Martin Luther King, stating, “I love Dr. King but violence might be necessary”. It has to be argued that in such a heated social and political atmosphere, it is unwise to incite violence. Although the circumstances are dire, surely it’s counterproductive and detrimental to the cause to rally support in such a violent way – despite what the history of the streets might tell us. Others would argue that a group of people can only be backed into a corner without retaliating for so long; unfair targeting and racial profiling is not a new concept, and that a backlash is surely inevitable.
Hip-hop has never shied away from tackling the racial and social issues that plague the current climate in the past, so why have we seen this influence diminish in recent years? Tupac Shakur, cultural and musical icon, was a beacon of social and political commentary in his music, for instance the tracks Changes and Ghetto Gospel, “I don’t trip and let it fade me, from outta the frying pan we jump into another form of slavery,” “Cops give a damn about a negro, pull the trigger, kill a n*gger he’s a hero.” These are jarring statements that took rap and hip-hop into the public sphere, and raised the concerns of an entire society.
Politically and socially influenced rap music has become more of a niche market in recent years, with rappers such as Immortal Technique establishing himself as an “urban activist”, and tackling everything from poverty to race and religion in his music. I for one welcome the re-emergence of political commentary in rap, and it would seem that modern artists are no longer afraid to weave their opinions into their craft. We have even seen rap mainstays such as Jay-Z being utilised within President Obama’s campaign to reach audiences and demographics that had previously been disengaged with political circles. Sure, Jay himself may be staying away from anything controversial these days, but it serves to show how much hip-hop has grown on general culture – meaning that now, more than ever, rappers can use the craft to share these opinions.
Kanye West is seen as an egotistical artist, but he has long rapped about social injustice, and more recently the impact of industry and brand names over our heads, proving that there is much more to his music than a self obsessed ego fest. From his earlier work, Never Let Me Down, “I get down for my grandmother who took my mama, made her sit in that seat where white folks ain’t want us to eat”, to his more recent tracks in New Slaves, “broke n*gga racing that’s that: don’t touch anything in the store, and it’s r*ch nigger racing that’s that: come in please buy more”, Kanye tackles everything from the civil rights movement to the wealth gap and socio-economic inequality in the United States, issues that remain relatively untouched in terms of social commentary within a modern context.
[youtube http://www.youtube.com/watch?v=JgtZHXEmvFQ]
Kendrick Lamar has tackled these issues through several of his releases, from his debut album Section.80, to his most recent project To Pimp a Butterfly. The track A.D.H.D is Kendrick highlighting the drug problem that his community faces, and the issues that stem from it, “my generation sippin’ cough syrup like it’s water”. To Pimp a Butterfly is a project teeming with historical and racially charged issues, dealing with the perils of success, a clash of cultures and the dealings of one young Compton rapper amongst it all. (Read our complete album review here for more on that.) Lamar has long spoken of his gratitude for his current place in the industry; he is well aware that his profile is something not to be taken lightly, and must be used to its full effect to spread the messages that he preaches so strongly in his music, from racism and drug use, to the perils of success in the music industry as a young African-American man.
[youtube http://www.youtube.com/watch?v=QjlFqgRbICY]
There is clearly always going to be radio-friendly rap, and hip-hop that appeals to the mainstream. Nobody is trying to stop or change that. However, currently, there’s a great need for some artists to use their position to recognise the plight of their people, ignite debate and spark political and social change. Essentially, making their voice heard. And we’re lucky that in and among the many commercial rappers emerging every year, there’s as many switched-on, politically-aware artists who are telling us exactly how it is. Groups like Public Enemy and NWA changed the game in the ’80s by telling the mainstream about life in the streets, and sharing a world that many of us would not otherwise be privy to. In the years since, hip hop has spiralled into countless other territories, and it’s people like RTJ and Kendrick who are keeping that flame alive. In the current digital sphere, these messages have a far greater impact, and their influence can be felt from so far away. I’m excited to see how hip-hop starts to shape the social and political nature of our time; this is the sound of the future.
While his name may not be as recognisable as others in Tupac‘s crew, Gobi Rahimi was a video producer, director, photographer, and close friend of the late rapper. Named ‘Pac’s “production partner,” the filmmaker is responsible for most of Tupac’s music videos, including the hit single and Snoop Dogg collab, 2 of Amerikaz Most Wanted.
When Tupac was shot in 1996, Rahimi was there. Over the next six days before Shakur died in hospital, Rahimi was there, alongside ‘Pac’s mother Afeni, Suge Knight, The Outlawz and more.
Now, Rahimi, who has amassed countless hours of unseen Tupac footage, is setting out to release a film documenting the final seven days of Tupac’s life.
The trailer has emerged on crowdfunding website IndieGogo, which Rahimi is using to seek out the $300 000 required for the film to go ahead. Emphasising that it’s NOT a documentary, Rahimi aims to reveal new information and share insight on the issues surrounding his final days. In the two days since the page began, he has so far raised a little over $5000. Donate or check out more info here.
He wrote on the page, “A few weeks before ‘Pax was shot, I wrote the letter that Tupac signed, firing Suge Knight and his lawyer David Kenner. After that the tension between Tupac and his label soared to new heights.”
“Tupac’s final week reflects all of the racism and inequality that Baltimore and the likes of Trayvon Martin have been victims to. The powers that be don’t want us to make this film.”
Far from the first film made about the legendary MC, Rahimi went on to profess his credentials through an impressive resume. Not only has he worked with musicians including Mary J Blige, Alicia Keys, Yoko Ono and Nine Inch Nails, but he’ll be employing producer Preston L Holmes, who produced films that Tupac starred in (Gridlock’d, Juice,) as well as major motion pictures Hustle & Flow and Malcolm X.
A lot of people have been throwing around a pretty huge idea since the release of Kendrick Lamar‘s To Pimp A Butterfly: he’s the new Tupac. He’s the change that Tupac wanted to see in the world. He’s continuing Tupac’s legacy. Our very own reviewer stated that, “Kendrick takes an ambitious step to reclaim the mantle that has been left vacant since the death of Tupac Shakur in 1996. He makes the transition from rapper to prophet.”
It’s not just us who are feeling that way. Not only has Lamar’s style, rhetoric and message been interpreted as revolutionary (although certainly not within the same historically groundbreaking ball park as Pac, let’s be real here,) but Lamar quite obviously compares himself to the late rapper numerous times on the album. He drops Shakur’s name, lists him as a major influence and even samples an interview from 1994, on the song Mortal Man. During the song, Lamar ‘interviews’ Pac, interweaving real recorded answers with his own questions.
The original interview is considered quite rare, from a Swedish radio broadcast in 1994. Thanks to the internet, someone uncovered the interview and re-uploaded the entire thing. Listen here: