Brand New
It’s Caribana weekend at the Molson Amphitheatre in Toronto, Canada, and the crowd is taking their time to find seating in a venue housing 16,000 guests. Tonight, Drake’s fans mostly comprise hipsters, fashionistas, and other ’80s-trend reviving youth. There were three opening acts: a young, male R&B singer who can be mistaken for Drake’s long-lost sibling; a band, Francis & the Lights (of whose song-writing Drake is allegedly a huge fan); and two unknown rappers who left the stage just as quickly as they took it. The opening acts gave their all to the eager beavers, though irrespective of their dedication, the crowd did not pay much attention. It was clear that the appetizers were to be skipped tonight.
Much discussion among Hip Hop fans, heads, and media alike revolves around the former Degrassi actor and present Young Money marvel. Questions whether Mr. Aubrey Graham is good enough to carry the weight of Hip Hop’s future on his shoulders, whether his lyrical capabilities live up to his huge hype, and whether he is the next best thing since your Nike Shox, are often left unanswered, falling under the “wait and see” category. I too, found myself posing the same questions. I like Drake as much as his biggest fan, yet like his critic, I lack the excitement. Ah, the paradox.
This year’s Caribana weekend is just what Torontonians needed after the highly publicized and controversial G8 Summit protests and riots sparked at end of June, teasing the city’s otherwise-swell reputation. Caribana 2010 festivities also correspond with the Civic Holiday, making for one hot long-weekend for which girls pre-planned the short outfits months before. It is also the weekend in which Toronto sees about a million visitors enter its blazing gates for Caribana festivities, and it is the weekend in which rappers seek to find shows in a city that is guarantee to provide world’s most gorgeous groupies.
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After an hour or so of people watching, I was happy to see New York’s DJ Cipha Sounds hit the ones and twos. My ears were ready to be blessed with Tunnel-era staples from Notorious B.I.G., Rakim and Nas, to the Wu-Tang Clan, LL Cool J, Mobb Deep and Jay-Z. As the crowd was settling in and ready to get the party started, Cipha Sounds also got his party started with Black Eyed Peas’, “I Got a Feeling.” And that feeling tonight, was far from New York. Southern beats quickly erupted – complete with their own dance moves – as “Teach Me How to Dougie,” “Stanky Leg,” “Chicken Noodle Soup,” and “Jerk” detonated through the speakers, offending my sound buds without an apology. It was apparent that Cipha Sounds knew how to rock a crowd, and surely, that entails knowing your crowd. So what do “Stanky Leg” loyalists have to do with Drizzy Drake, who is too North of the South to introduce crowds to languid dance steps fully equipped with instructional YouTube videos?
Replacement Boy
Perhaps the youth can relate to the Young Money superstar who at 24 years old managed to attach himself to the contractual hip of one of the most lucrative Hip Hop artists: Lil Wayne. Perhaps this is the new generation of superstars, who choose creativity over tradition, optimism over pessimism, and behavioral freedoms over cultural constraints. These are the youth who are lax with sex, and rapid to self-start businesses. They appear more guarded from genuine emotion than any previous generation Hip Hop has witnessed thus far – or perhaps, that is the facade given off, as this is the generation who eagerly and religiously welcomes Drake’s love-themed hooks and rhymes. These are the coffee shop hipsters who opposite to their predecessors choose action over grumble. And this is the generation that is well dressed, increasingly well-rounded, and quick to offer a smile.
The new cohort of inspired, imaginative and resourceful youth chose Drake as their pictogram, who smoothly embodies all of the above. He is everything the current image of a rapper is not. Drake has no tattoos. Drake smiles. Drake’s energy is positive. Drake wears no sunglasses during (most) interviews. Drake doesn’t wear heavy chains merely because he can afford them. Drake wears dress shirts, heather tees and woven sweaters. Drake can be the poster boy for H&M on any given Monday, Wednesday and Sunday. Drake brings his mother to award shows. It is easy to see that Drake breaks borders of Hip Hop’s stereotypes just as his followers break away from pre-disposed cultural expectations, constraints, and obligations. Ladies and gentleman, Hip Hop may be entering an era of individualism.
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But there is more. As opposed to the often monotone delivery and habitually serious face expressions seen on many Hip Hop artists controlling the stage, Drake’s facial language, if not awkward, is certainly entertaining. From spasmatic smiles to surprised and serious affects, Mr. Graham confidently shows off his dramatic skills acquired from playing Jimmy Brooks on Degrassi: The Next Generation, a basketball star who became physically disabled after a shooting in the back. Throughout the show, Brooks discovered his artistic talents; through recording, Drake discovered a way to a fan’s heart: via their feelings.
“Find Your Love”
, the title of Drake’s single, is engraved on many tank tops and tees, worn both by males and females within the crowd. Flirting with love could be Drake’s M.O.; he easily alternates between heartfelt R&B tracks to sentimentally induced “Best I Ever Had,” “Teach U A Lesson,” and “Missin’ You.” For those who long for the sentiment Hip Hop used to offer, Drake is that dude. Does he contribute something new? Perhaps not quite, as plethora of artists from LL Cool J to Ghostface Killah meddled with topics of romance, relationships and regrets. Does Aubrey offer a replacement to the present-day ego-enabled cold cuts? Rotationally bland songs which hit the radio with the same monotony as their theme-less, purposeless, and insipid videos? Absolutely.
Where To Now
When analyzing artists, and Hip Hop in general, it is of paramount importance to remember that Hip Hop is a culture. As any with any other culture, it has its own language, attire, music, political aspirations, art, community work, and often overlooked history. Similarly, it evolves, changes, and progresses in ways in which its predecessors – as with any other culture – may not agree with. Just as our parents may not understand, accept, and promote individualistic expressions by means of tattoos, piercings, and career paths laced with artistic aspirations, the ’80s and early to mid-’90s Hip Hop generations may not understand, accept, and welcome similar creative endeavors such as persistent use of Auto-Tune, Pop-ish beats, and simplified songwriting.
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Cultural advances are anthropological truths, and almost always, there are individuals at the forefront of change, carrying evolutionary torches. Perhaps the most obvious example is the present-day United States political precedent set in by a half-black President. While America herself has matured enough to elect a black President, it is America herself that instigated the change; it was not President Barack Obama. Obama however, is the face of the social movement. The ideological change shift itself, is the movement. In similar form and fashion, the likes of KiD CuDi, J. Cole, and Drake, are the faces of the Hip Hop’s cultural change.
This transformation in Hip Hop music can be also noted by Drake’s choice in guest appearances. Bun B, Young Jeezy, Fabolous, and Rick Ross each took the stage, igniting the cell phone flashes and inciting the Torontonian crowd to repeat every single line word by word. It is natural that the youth are showing love to Drake – after all, he is city bound. But why are Canadian hipsters losing themselves in Southern’s finest? Perhaps it’s Jeezy’s smile behind the empowering stage slogans such as “keep yo’ head up and your chest out,” or “’cause if you like it homie, I motherfucking love it.” Perhaps it’s Rick Ross’ chains, adding gleam to stage lights. Or perhaps, it’s Bun B’s slang that makes us Northerners recall just how boring our accents can be, despite the overemphasized “ehs,” “aboots,” and random British-induced pronunciations.
Whatever the Northern attraction to the dirty South may be, one thing is clear: Hip Hop evolved into a multidimensional, multifaceted culture which cannot be neither controlled nor contained within geographical borders, and more importantly, within particular ideas.
About The Game
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Although Hip Hop culture transgresses borders and ideological predispositions, at the same time, the unification and synergy within the industry itself cannot be ignored. The cohesiveness, unification and unspoken understanding and shared love – such as that found in religious communities – amongst heads, journalists, artists, producers, promoters, fans, deejays, and radio hosts alike, places Hip Hop culture in an arena in which many other cultures, never have touched, and will perhaps never come close to touching. Church leaders, for example, may preach out of the same bibles, but churches themselves segregate communities through taxonomy of race, economics, and territorial locations. The same can be said for mosques, political parties, and even academic institutions. But not with Hip Hop, and not tonight where the crowd itself is as diverse as the nail polish colors oh so carefully painted on each lady with opened toe shoes and a dangerously short dress. Long way from baggy pants and afro picks.
In addition to global fan fusion, the unifying energy of Hip Hop extends artist-to-artist, despite the irritating and deceitful propaganda alluding otherwise. Synchronization of ideas, the blend between old, new and in-between, the creation of friendships, relationships and classic music itself can be witnessed throughout the current umbrella of Hip Hop music. For example, Kanye West helped carry the game to where it is now, not only by means heartfelt samples, but also through enlisting love songs, Auto-Tune, and tight (jeans) beats. In addition, Mr. West executive produced Jay-Z’s Blueprint 3 (which ironically has the “Death of Auto-Tune” planted as the third track in a sequence of business collaborations, Jay-Z’s classic storytelling – even if the story changed – and inspirational jawns.) While Kanye may be labeled “progressive,” Jay is a middle ground between the classic approach and the changing topical range: some call it growth; others, selling out. No matter what you call it, Jay’s artistic patterns are as versatile as his vocabulary. This is the artist who can jump on a DJ Premier beat while collaborating with – and emulating even – Lil Wayne. And in turn, Weezy F. Baby is responsible for Nicki Minaj. Granted, many do not understand what the self-proclaimed Barbie Doll is doing in the front of the mic; however, she flawlessly jumped on Usher’s “Little Freak,” a man who created hit tracks with both Jay and Drake. One may call these overlapping collaborations successful business ventures; fair enough. But a hit single is usually not produced without fantastic synergy.
Back to tonight, Drake is that face of Hip Hop’s unity (collaborations include anyone from Alicia Keys and Trey Songz to Eminem, Rick Ross and T.I.) and musical synergy. These collaborative trends occurring in the music certainly juxtapose the fend-for-self orthodoxy that plagued the industry for the last decade (at least).
Light Up
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Such collaborative ventures certainly brighten Drizzy’s world, shaping him into the kind of performer many artists only strive to be. Drake’s stage energy is grand. He is the only rapper I have seen who gets off on his own music – on stage – living and reliving every beat, every lyric, and every undertone. The show is extravagant, stimulating, and surprising, much like Drake’s entire Hip Hop career has been thus far. He has a somewhat thoughtful intro to every track, and a live band accompanying him –including an electric guitarist. Hip Hop artists are present-day Rock stars more than the Rock stars themselves. And the show is a hypnotizing dream: spectacular illumination, an energetic and patriotic Torontonian crowd, and actual fireworks popping off on cue during “Fireworks”. Resembling Santa Clause more than a mere rapper tonight, Drake now adds the hometown’s Kardinal Offishall to the list of tricks and treats.
The man who gives name dropping a tangible meaning keeps raving about the beauty in Toronto’s women. To prove his point and amuse himself, Drake invited a lady from the audience with thick thighs, long brown hair and a gleam in her eye, to join him on stage while he serenades her in his own Drizzy way (first by asking her if she is of legal age), a tease of a massage, followed by a slow dance. Tonight’s show certainly differed from Rakim’s set in Toronto’s Harbourfront Centre only weeks ago. Despite energetic delivery laced with words of wisdom, Rakim’s show did not offer flashy lights coupled with the drunken affect Drake brought to the stage. It was clear, that just a couple weeks ago, Toronto’s Hip Hop fans were breathing the air of the ’90s, while tonight, 2010 creeped up without an apology, and without a warning.
The Resistance
Fans, artists, critics and media alike disparage, ridicule and offer on a don’t-need-to know basis their opinion which often describes the “current state of Hip Hop.” Hip Hop writers and journalists love to solicit artist’s opinions on the present “conditions” of the music. As though Hip Hop is a state, a condition, a trend which its followers and believers alike are expected to grow out of. Not for nothing, I was guilty of asking the question myself, without realizing that Hip Hop is a culture, its music leaving the nay-sayers with three options, and three options only. Change, accept, or leave (shout out to Echkart Tolle and The Power of Now).
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To change the current direction of commercial music involves taking action as opposed to releasing on rotation fruitless bicker and blubber. Anything from supporting artists by purchasing albums (as opposed to downloading without paying dues) to contacting media stations and requesting play of particular tracks/videos. And while at it, why not write to video directors themselves, and remind them that alcohol, cash, and “hoes” do not equate to creativity, originality, or ability to evoke authentic emotion. The second option is to accept the status-quo, enjoy the artists with whom one relates and appreciates at the moment (shout out to J. Cole, Jay-Z and Eminem), without paying play to those failing short. The last option is to just let go of Hip Hop, as though it’s a pair of jeans you were able to fit into when you were 17 and rocking cornrows. However, for most fans, those jeans still fit…
Perhaps the most obvious rants are retirement roll calls witnessed by jaded and annoyed rappers, both up-and-coming and vets alike. Just as fans do, rappers often become annoyed with the “present state of Hip Hop,” and their grievances that include anything from tight jeans and Lil Wayne to the lack of conceptual music and Lil Wayne. Lil Wayne’s not complaining however, as Wayne is doing Wayne; more so, Wayne does it for his fans. Those who are not his fans however, are free to explore other artists, and with the ease of the Internet, conduct research on rappers from today, the ’90s, the ’80s, and the ’70s. In addition, Hip Hop music is so multifaceted, that one is guaranteed to find the stroke that rocks their boat. This can be done without resistance, and without the futile attempt to prevent the culture from evolving and taking its natural course – whatever that natural course may be.
The views and opinions expressed in the above feature editorial are those expressly of the writer of this piece and do not necessarily reflect those of HipHopDX.
