Happy Birthday @djwhookid Sada Pop!

Shout out to Whoo Kid, the incredibly humorous and vital cog in the G Unit machine. He went from mixtape branding guru to international DJ supporting artists from the UK too.

Here he is being his hilarious self -

G Unit Destroy Troy Ave's "All About The Drug Money" [LISTEN] @itskiddkidd @youngbuck @tonyyayo

When a Trio Falls Does It Make a Sound?

Yes. My favourite British rap group, The Manor, announced their retirement from the game and it delivered a shockwave which resonated throughout the trio’s small but passionately supportive fan base. It was surreal, I didn’t think it would feel so tragic but it genuinely left a strong scent of loss and reminiscence in the air as people’s own personal memories and moments involving the group and their music began flooding onto social media. Curiously, in my cynical head the alarm bells began to ring and my journalistic radar started whirring as I first thought this could be a genius plot and a cunning publicity stunt or it could just be another grave reminder of how cut-throat this particular art form really can be. The rap game has the cruel power to construct and combine individuals, peoples and nations but also to destroy and divide them with a relentless ruthlessness. From a pedestal I’ve observed the plight of The Manor among other favoured artists of mine and I’ve noticed that their authenticity and the quality of the actual music will very quickly secure them a small but tight-knit community of fans, followers and well-wishers. The second stage comes after they’ve released a few projects and they realise they might want to take this seriously so they seek management, gigs in places further afield and a low budget Simon Cowell type figure to guide them towards the success that they’re convinced their endeavours will bring them. The young artists will be vibrant and confident and will foxtrot around the periphery of the industry without really being able to pass the more significant stumbling blocks in the way. The most insurmountable sleeping policeman in the British urban music industry appears to be the fierce tug of war that takes place between authenticity and appeasement.

We can count the number of British urban artists that ‘made it’ in the last 10 years on one hand, I would argue that we can count the ones who succeeded without having to compromise their sound or their image on a few fingers. The head honchos in this industry are somewhat like coroners, they play a vital role in understanding the demise of certain artists and they also love placing people into boxes. It is easier for a label to churn out the same humdrum mediocre mainstream magnolia music than it is for them to invest in something risky but really real. Most lyrical content in popular music is aspiring at most, the things that these artists make reference to in the songs are often fabricated to elevate their own status in the mind of the listener. Therefore, it is rare to find music of substance where the average young Brit can identify with what is being said; Context is another authentic artist and in his ‘should-have-been’ hit song ‘Small Town Lad Sentiments’ featuring Mike Skinner he raps:

‘You play tunes of US rap and grime you can’t even relate to’

The female demographic essentially dictates what kind of music is made and played because the artists want to gain popularity by having DJ’s play their tracks on radio and importantly, in clubs. The DJ’s will only play the songs if it gets people (mainly ladies) dancing and enjoying themselves; therefore naturally, the type of music which would cater for this would typically involve addictive beats, catchy hooks and basic, easily remembered lyrical content usually including instructions on how to dance to that particular song (see Twerking). It is the aforementioned type of music which drowns the airwaves and saturates our eardrums so much that we buy it in order to achieve the feeling it gave us in the club or at that party, from our own personal mobile phones and MP3 players. The significance for the culture is even greater because it undermines the importance of authenticity and creates a ‘YOLO’ (*sighs*) mentality whereby the temporary enjoyment of the product is paramount but its production, its substance and its longevity are irrelevant. Great music used to be timeless, now it is as disposable as it has ever been; meaning the labels and their artists are under more pressure which when cracked either results in a surrender to the system or a tearful farewell, as was the case with my beloved band from South London. 

There is no doubt in my mind that there are 100’s of The Manors and Contexts up and down the country with great, authentic music but the nation is deaf to their talent because the industry simply doesn’t provide the vehicle nor the platform for them to accelerate and elevate. Music is a mirror as when it is done properly it is a reflection of the reality that exists for the creator, so when these real authentic artists eventually retire from their posts it is a loss to the community of fans who support them but crucially, to the art-form itself. When a trio like The Manor falls, yes it does make a sound, it does send out shockwaves but ironically, it is the silence that is most deafening.

Wiley – On A Level @wileyupdates directed by @skepta

Wiley – On A Level

For a long time I’ve held the belief that without Boy Better Know there is no grime culture. Of course the genre would still exist but these guys are really the last ones left who genuinely embody the spirit and authenticity of the art-form. My point is proven through Wiley’s latest release ‘On A Level’, when was the last time you heard Wiley put out a song as grimey as that, it’s been years surely and the mixtape material he does doesn’t count. It was no surprise to me that the video is directed by Skepta and the whole BBK crew is in the video as well as some unusual but exciting guest cameos from Giggs and Stormzy.

This is what they do best; keep it fresh, exciting and original without much compromise from the dress code to the beat itself – everything is kept authentic and entertaining. Criticism of Wiley’s lyrical laziness in his latest project has been well documented but here he really is back on a level, the scenes in the video project him as the godfather with his consigliore of MC’s around him all dressed in black. The hook is strong and repetitive but naturally lacks the firepower of a Heatwave type record which is okay because the real ruggedness and authenticity of this track more than compensates for that.

The only remaining question for me is whether this is just a one-off because the unity depicted in this song and video is obviously prescribed by BBK and frankly, it’s what the UK scene has been crying out for. Yes we have our collaborations on mixtapes and we tweet each other’s releases but there’s never really been that consistent togetherness and substance on a mainstream level. The teamwork aspect of this video is refreshing and the remix of the song has me licking my lips already – long may it continue.

When A Mountain Loses a Rock

On 17^th August 2014, Beulah Jackson, the grandmother of Curtis ’50 Cent’ Jackson unfortunately passed away. The cliché that life is a rollercoaster springs to mind, a bittersweet cocktail of ups and downs that has the cruel ability to plummet you to the depths of despair at any given moment. With the triumph of his TV show and what appears to be the revival of the careers of his brothers in G Unit, the summer was a smash hit as far as 50 was concerned but it would have all came to an abrupt, crashing halt this evening.

For someone who is notoriously thick-skinned and as emotionless as the bullets which bled his fears out in 2000, it’s difficult and surreally heartbreaking to think about how he must be feeling now that he has lost the only thing that we know he truly cared about. In his groundbreaking interview with Oprah Winfrey, Curtis admits that she is his heart; she took care of him when he couldn’t and in his song ‘Talk About Me’ he recites from his grandmother’s perspective:

                                ‘ Look at my first grandbaby he’s a big rap star,
                                Bought me a house, diamonds and a brand new car,
                                I told him what it takes to go this far,
                                Boy I’m the reason you are what you are’

Who knew that the Teflon, tatted boss with a mogul status would regularly go back to his grandmother’s house to paint her toenails and just be content in her company. His entire world changed so rapidly in 2003 but it is evident through his lyrics and his interviews that his grandmother remained his gravitational pull, his heart and his rock. When Lloyd Banks’ father passed away, 50 admits that he didn’t understand why Banks was mourning and not working, to him death was detached from grief, he couldn’t empathise with it. I think now he understands what it feels like to be shot again, I have no doubt that this will hurt him more than the bullets could ever have done and the question remains how will the brave-faced boy from 134^th street move forward from this.

I wish him and his family my condolences.