TRUTH Minista Paul Scott: Does Hip Hop Hate the Educated Rapper?

Hip Hop has a long history of beef with intelligent rappers…

like conscious rappers/mad ‘cause we winnin’” – Lap Dance (Tyga)

During a recent episode of BMET’s (Black Mis-Eductation Television) Fantastic Friday Rap Battle, the crowd went wild as the champ, B. Grimey dropped bombastic bombs on the challenger, MC Imhotep. By the time he said his third “yo mama so black” rhyme, the celebrity judges were applauding loudly as hosts, Clarence C and Rosie danced across the stage. However, when MC Imhotep, started rappin’ about how Grimey’s sneakers were made from sweatshop slave labor ,his bling courtesy of South African diamond mines and his swag a product of a dysfunctional educational system, the audience sat dumbfounded and the judges ran for cover as Clarence J yelled “cut to commercial….”

Hip Hop has a long history of beef with intelligent rappers. I remember back in the day when Kangol Kid of UTFO dissed fellow group member EMD , “The Educated Rapper” in front of Roxanne, with the classic line “I know you’re educated/but when will you learn/not all girls want to be involved with book worms” However, since EMD was just a character who wasn’t exactly known for droppin’ knowledge , it was understood as just part of the act. However, when rappers like Tyga infer that intelligent mc’s are just hatin’ on him and his crew because they are “winning,” that ,sir, means war!

In fairness, Tyga was not the first to diss Hip Hop brainiacs, as over years more than a few commercially successful rappers have taken random shots at intellectual rappers. Remember back in 2002, Nelly aimed a diss at “tha Teacha” KRS-ONE when he said that people judging Hip Hop are the one’s whose albums flop on his song “Number 1.”


So, does Hip Hop really despise smart rappers?

Historically, America has always feared intelligent Black men. Even going back to the early 19th century with Nat Turner. Although he is portrayed in history books as a mindless brute runnin’ around slaughtering slave owners, Turner was intelligent. Also, even though the Black Panthers of the late 1960’s were known for bustin’ their guns, it must be remembered that the party was founded on a college campus and their main threat to the power structure was their political education classes. Today, since Hip Hop is dominated by Black male voices, the paranoia is still there.

Although Ice T is mostly known for his pimp and gun talk , his most threatening lyric was “my lethal weapon is my mind.” That still holds true today, as, although white mainstream Americans profess to hate violent, misogynist rap music, the reason why they back it financially and give it a platform is because of their fear of the alternative; music that will inspire Black people to challenge the status quo.

So, it is not really hate that fuels the animosity against intelligence in rap, but fear. And when this fear is internalized it morphs into self -hatred. As Marianne Williamson said in her oft quoted poem, “our deepest fear is not that we are inadequate but that we are powerful beyond measure.”

Although some rappers are actually intellectually challenged in real life, many are just playing dumb. One of the best examples is one of the hottest rappers in the game, right now ,2Chainz. Although, he is rumored to be academically gifted and, according to his website, even down with the Hip Hop Congress’ “Respect My Vote” campaign, the message that he sends our children does not reflect any of that. His latest songs, “Riot” and “Rich Man’s World” could have easily been the political anthems of the Occupy Wall Street/Trayvon Martin era but instead he chose to continue with the same misogynistic tales of murder and mayhem.

So what do we do?

We declare war.

Contrary to popular belief , there has never been an all out war against Hip Hop ignorance. Although, back in ‘94 , Jeru the Damaja threatened to stab “Mr. Ignorance” “in the heart with sharp steel book marks,” he is alive and kicking. Reason being, over the years we have either looked to a rap apologist going through mid -life crisis, still tryin’ to be down or an overpaid Hip Hop academian to solve the problem.

However, the solutions are simple.

First, we have to stop parroting the lie that the reason that Hip Hop is in its present state is because that is what “we” want.

Uh…no, “we” don’t.

Unfortunately, anyone who is smarter than a fifth grader is, somehow , always, left out of the official Hip Hop census.

Also, conscious rappers and Hip Hop journalists need to stop goin’ out like suckas. Although, playing dumb may be an entrance requirement for the cool kids table for high school freshman when adults dumb themselves down to fit in with their kid’s homies … We’ll , that’s just wrong.

Finally, as unbelievable as it might sound the best sage wisdom comes courtesy of the late Notorious B.I.G. on his song “Unbelievable,” “dumb rappers need teachin’.” If we can’t make being smart cool, at least we can make being stupid, uncool.

So, no Tyga we ain’t mad because you’re winnin’ ,we’re mad because of lyrics like yours, our children are losin’.

Although, school is out for the summer we have to admit that for Hip Hop, school has been out for decades. It’s time ring the bell and yell “class is back in session.”

A generation ago, KRS One proclaimed “the age of the ignorant rapper is done.” Unfortunately, we’ve been singin’ that same song for 20 summers.

Maybe this year, KRS. Maybe this year….

TRUTH Minista Paul Scott’s weekly column is This Ain’t Hip Hop: a column for intelligent Hip Hop headz. He can be reached at (919) 308-4233 or email His website is Follow on Twitter @truthminista

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TRUTH Minista Paul Scott: Did Hip Hop Swagga Jack Black Culture?

June 19, 2012, rap artists got the Hip Hop Emancipation memo that they…

On June 19,1865, Black folks in Galveston,Texas  finally got the Emancipation Proclamation announcement that slavery was over. They were ecstatic that they no longer had to choose between pickin’ massa’s crops or gettin’ beaten with rawhide. June 19, 2012,  rap artists got  the Hip Hop Emancipation memo that they no longer had to be coons and buffoons on the corporate rap music plantation and make mindless, murda  music to mislead the masses. They were ,now, free to make music to actually uplift the Black community. Their reaction?  “Naw, dawg. We good…”

Although many African Americans are celebrating Juneteenth, a holiday marking the “official” end of  slavery in the US, many in Hip Hop still have not gotten the message.  While it may be argued that there was a time when artists had to bow to the will of major record labels to be heard, in the Internet age of Youtube and Twitter, this is no longer the case. So, what we have is not really modern day slavery, but voluntary servitude.

Back in 1987, Dr. Chancellor Williams wrote the outstanding book,  The Destruction of Black Civilization, about the factors that led to the decline of great African societies. If he would have waited just a few more years he could have added a chapter called “Hip Hop,” as it has done what 400 years of slavery could not. It has made a generation of African Americans, totally, reject  Black culture.

Today, many in Hip Hop have ceased to identify themselves with “Blackness.”  Although, some of our lighter-skinned grandparents had to “pass for white” to get over on society, many  artists today “pass for Hip Hop” instead of accepting the social responsibility of being Black in America.

For some, Hip Hop is more than just a “culture” it has become a separate race. And they show more allegiance to Hip Hop than to the culture of their ancestors.  I would not be surprised if one day somebody started a campaign to get Hip Hop included as a special racial category on the McDonald’s employment application forms.

The only time that some artists play the rap “race card” is when someone steps to them about their negative messages. How many times have you heard an otherwise culturally ,clueless rapper, eloquently, defend his lyrics by claiming “ya’ll just pickin’ on me ‘cause I’m an African American, Black man of color in America. I don’t see y’all sayin’ nuthin’ to Arnold Schwarzenegger….”

Although, some of the mainstream rappers are quick to defend Gay rights,  pitbull rights and the rights of large sea mammals, they are slow to speak out  on “black” issues. They will even jump  to the defense of a White person using the dreaded “N “ word.

Case in point is the recent uproar over the N**** joke that was tweeted courtesy of actress

Gwyneth Paltrow’s Twitter account. Although artists like Q-Tip expressed righteous indignation, some quickly rose to defend their damsel in distress. It was reported that , The Dream tried to take the heat by claiming that he was the real culprit.  And later Nas threatened to give anybody who messed with his ride or die chick of the Caucasian persuasion a quick Queensbridge beat-down.

Maybe The Dream needs to revisit Malcolm X’s “House Negro vs Field Negro” speech where he said “the house Negro loved his master more than the master loved himself.”  And Nas should go back and listen to his own, now autobiographical , song “Coon Picnic (These Are Our Heroes..)

“Let’s hear it too, for the spooks who do cartwheels/’cuz they say they played their parts well.”

However, they are not the only ones suffering from  a racial identity crises.

As hardcore as MC Kill-M-All  may be when interviewed by  DJ Blaze on  Hip Hop Power 97 in NY, his personality does a 180, when he politely chats with DJ Richie the C on Dance 105 in Des Moines. Or the same rapper who flashes guns and throws up gang signs on the Murda U Magazine DVD goes out of his way to convince a reporter from  CNN or Forbes , that  he is just an average guy who only wants peace for all mankind.

The real problem is that rappers rep’ thug-ism harder than we rep’ Black culture.

You have to give the swag boys credit for one thing; conviction.  They are very clear on what they represent. (Whatever that may be.)

While the thugz have no problem walking into a ritzy,  black -tie event with their drawers showin’ , a 40 oz in one hand and a big ,greasy bucket of fried chicken in the other, some of us won’t even wear an African medallion out in public for fear of being labeled a “radical.”  And even though the gangsta’s will stand up in a room full of Ph.Ds and boldly defend their rights to be as ig’nant  as they wanna be, the conscious cats get nervous just debating 13 year olds about the difference between rap and Hip Hop.

So, just as commercial rap music helped to destroy our culture, this Juneteenth we must make a vow to restore it. We must once again be proud to be Black.

Even though Ice T claims in his new documentary , The Art of Rap, that rap music made “something out of nothing,” in reality, it made nothing out of something…

TRUTH Minista Paul Scott’s weekly column is This Ain’t Hip Hop, a weekly column for intelligent Hip Hop headz. He can be reached at (919) 308-4233 or His website is . Follow on Twitter @truthminista.

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What REALLY Happened Between Drake And Chris Brown: Ghostfase Tells You

The sh*t you about to read is based on actual true events…

Ayo whattup! Yall back in the presence of the mighty Hands of Zeus aka the infamous Volcano Hands aka Thor Molecules aka Phatom Raviolis aka the illustrious Galaxy Knuckles…otherwise known as the glorious Cocaine Biceps. Ayo son…I was at the crib bein fed grapes by the hands of a dozen virgins when I heard that the cat fight of the century had went down nahmean. At the time I was unclear on what types of events had transpired n shit…so I chose to not comment on that shit. But as the day had went on I had became informed of the actual shit that had took place n so forth namsayin. So I wanna give yalls the inside scoop on what really took place between Chris Breezy Brown n Drizzy Drake nahmean. I aint wanna take sides in this shit so Imma let these muthafuckas tell yall how it happened in they own words. But yo…I was advised by my lawyer to cover my ass n not get caught up so yall gotta read this shit first.


Ayo without further ado the mighty Hands of zeus would like to present to yall muthafuckas…


Shouts out to Ghostfase for keeping things real AND funny.  If you don’t visit his blog on a regular basis… you’re missing out.

[New Music] People Hear What They See – Oddisee

These are mindful contributions to a shifting hip-hop dialogue from a…

“I’m not a star, somebody lied / I ride the subway as a car, I’m getting by.” That’s Oddisee on “Do It All,” the collaborative track with his DC supergroup Diamond District, from his new album, People Hear What They See. The producer/rapper just kind of throws that line out there, subtly grounding Rick Ross’ hammy modesty with a gentlemanly dose of honesty. This is but one of People Hear What They See‘s many thoughtful takes on rap’s rote subjects. If there’s a concept to the album, it would be approaching the entry-level boasts and well, bullshit of rap, and turning them into true, lived-in representations of everyday life. “American Greed” is the “get money” song with a widescreen worldview of risk and reward, and “You Know Who You Are,” is a track for “the haters” twisted into a celebration of those who’ve supported you, and a request for introspection. These are mindful contributions to a shifting hip-hop dialogue from a doggedly underground dude not too interested in being superstar, yet well aware of the frustrating limitations and walls put up by the underground, as well.

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I’m focusing on lyrics a bit here because everyone’s well-aware of Oddisee’s production chops, right? At least, they should be. Oddisee is the type of guy for whom tags like “underrated” and “slept on” have been applied so much that I’m not sure he’s even underrated anymore. One of the most impressive runs in rap as of late is Diamond District’s 2009 album In The Ruff, a nostalgic rush through New York rap with a dose of go-go swing and loose, live instrumentation; last year’s Rock Creek Park, a mostly instrumental memory stroll via old soul samples; and now People Hear What They See, a gritty hip-hop album with detours into orchestrated soul, quiet storm, and space disco. Last year, Oddisee put out a challenging Twitter rant on what’s wrong with being called “underrated”: “Reserve underrated for artists who can’t catch a break but should. Not for the successful ones you want to see bigger.” What excited fans are grasping at when they call him “underrated” though, is just a sense that Oddisee is an ambitious and singular talent who’s hard to pin down and probably suffers a bit for that. You can hear that same, invigorating sense of “is this even rap anymore?” that you hear on Kanye’s My Beautiful Dark Twisted Fantasy and El-P’s Cancer For Cure, though Oddisee’s far more restrained than either of those producer auteurs. People Hear What They See is available on iTunes since June 5th, and everywhere else since June 12, but you can stream it below right now, exclusively at SPIN.

For stream, click here.

Source:  Spin .com

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Wiki Info:

Oddisee, born Amir Mohamed el Khalifa, is a MC/producer currently recording for Mello Music Group, splitting his time between Brooklyn; Washington, DC; and London. He was born in Washington, DC, and raised in Prince George’s County, Maryland, and his love for this area is clear in his work. As a member of the Low Budget Crew, Diamond District, and as solo artist, he has released more than ten records with various labels.


Oddisee was born in Washington, DC, and raised in Prince George’s County in Maryland by his African American mother and Sudanese father. According to a National Public Radio interview with Mohamed, Prince George’s County is one of the wealthiest African American counties in the nation but borders some of the DC area’s roughest parts. Mohamed moved to DC after high school, where he began to develop his musical sound, which has been called observational rather than angry, with a clear vision combined with soulful beats. After finding musical success and inspiration as a part of the DMV scene, he moved to the Brooklyn area for the much larger industry. He now splits his time between New York, DC, and London.

Oddisee was influenced musically at a young age by both sides of his family. From his father’s Sudanese side, he was influenced by the accomplished singers, guitarists, and poets. His mother’s side showed him gospel and bluegrass. According to Mello Music Group, he was first exposed to hip hop music by his older cousins, and it was his father who gave him his first vinyl, which influenced him to start producing. Upon graduation from high school, he moved to DC. He was all set to attend the Art Institute of Philadelphia to study visual art but was drawn to the production of hip hop and jump-started his career in music during 2002 with his production of the song “Musik Lounge” on DJ Jazzy Jeff’s Magnificent album, while he worked at A Touch of Jazz studios. However, he really began his focus on hip hop in 1999 and has worked with many successful artists including Talib Kweli, J-Live, Little Brother, and Apollo Brown.

Soon after Oddisee’s release of “Musik Lounge,” he joined a group called the Low Budget Crew, which included several other DMV artists such as Kenn Starr, Cy Young, and Kev Brown. While working with this group, Oddisee signed with Halftooth Records and released the EP Foot in the Door in 2006.

In 2008, Mohamed signed with Mello Music Group and released a series of projects over the years on which he either rhymed or produced, such as 101, Mental Liberation, Everything Changed Nothing, Odd Seasons and Traveling Man. He also created a DMV hip-hop group named Diamond District and has released several projects with them. His next studio album is set to be released on June 5, 2012, titled People Hear what they See on Mello Music Group .

Influences and Personal Life

Oddisee was originally influenced by his parents’ heritages, combined with a hip-hop influence from his older cousins. In an interview with NPR, Mohamed explained why he was influenced by early East Coast emcees such as Rakim and A Tribe Called Quest. He said, “These rappers don’t talk about drugs or murder, and I can relate more to their lyrics.” His lyrics have touched on a variety of subjects, which include his home town, boredom, and inequality. This is clearest in his song “I’m from PG,” which is a direct ode to his hometown. Oddisee identifies with an assortment of emcees from the District of Columbia, Virginia, and Maryland areas who share a similar sound. This area is known as the DMV. These emcees share similar determination to create original music using swinging percussion and identifiable rhythms.


His work has been used by ESPN during the NBA finals and in commercials, and in sound bites for Adult Swim, DC Shoes, and Quiksilver.Oddisee’s Odd Spring mixtape was also listed on the Washington Post’s Best Local Hip-Hop mixtapes of 2010.

Blast It Or Trash It: On My Grind – Ready Roc (Gilla House) [Video]

Ready Roc from the Gilla House movement drops another…

Ready Roc from the Gilla House movement drops another joint.  This one comes complete with a video “On My Grind”.  What WE Want to know is what YOU think… Blast ItOr.. Trash It?!?  Watch the video, then leave a comment below to let us know.

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Download this track from DjBooth by clicking here.



Ice-T Interviewed By Rolling Stone: Discusses Art of Rap & Nicki Minaj

In his new documentary The Art of Rap, out on June 15th…

Ice-T – the gangsta rap icon who spewed the venomous “Cop Killer” with his heavy metal band Body Count and became a First Amendment martyr in the Nineties – has since become a TV star and pop culture darling, playing a police detective on Law & Order: SVU and himself on Ice Loves Coco, a reality show about his married life.

In his new documentary The Art of Rap, out on June 15th,  Ice-T returns to his roots and does candid interviews with some of hip-hop’s greatest lyricists, including Rakim, Grandmaster Caz, KRS-One, Q-Tip, Nas, Raekwon, Eminem and MC Lyte. On his way to a screening of the film in Chicago, the veteran spoke at length with Rolling Stone about the meaning of “real hip-hop” and dropped knowledge for the next generation.

The Art of Rap is a personal project about your peers in hip-hop, but the story is also relevant to fans. As a filmmaker, who did you create this film for?
I created it for both. The artists want to be represented for once in a good light, to see themselves as artists and not what’s usually portrayed in the press. Fans get a chance to see these guys candidly and hear how they feel about the art form. It’s me giving back to hip-hop and doing a film that shows us in a good, positive light.

A lot of the MCs showcased in this film predate the formative years of young hip-hop fans. For those who didn’t grow up with Rakim or Big Daddy Kane, what do you see as the takeaway?
They need to know their history. If I’m going to be a jazz player, I need to understand Miles Davis. They need to understand what this train is that they’re jumping on and they’re following; where it comes from. You gotta remember that hip-hop was a youth movement. [Grandmaster] Caz says in the movie, “I started when I was 13” … we were all kids when we started. Now you guys are kids and you guys are taking it from here.

You also document the rhyme-writing process, from Grandmaster Cazs penmanship to Rakims 16-bar strategy. Rappers today often brag about not writing their verses down, and like Naughty by Nature’s Treach says in the film, it shows. When did it become cool to stop writing?
Jay-Z did that. Jay-Z is like a rap savant. He has that ability to do very intricate stuff in his head and he was the first rapper to say, ‘I don’t write,” and now everybody is trying to act like they can do it like Jay-Z. Most people have to write it out. It’s not that easy to do it well off the head, as they say. You’ll get an interesting rhyme, but it won’t be anything near something you can write. So to me, Jay-Z is the one rapper who can do it. Everybody else, like Treach says, needs to pick up a pen and take a little time and make it sound right.

It seems like the phenomenon of lyrics taking a backseat to beats coincided with the rise of hip-hop producers as stars in their own right. Did the producer kill the rapper?
Nah. I mean, if you have a supernatural track, you don’t really have to do much to rap on it to sell it. The track is so intense. Sometimes when the beat is so loud or incredible, people don’t get to the words; they’re just having so much fun. When you got that mega-production, you can hide behind that production. No disrespect, but some of the biggest records … If you take the music from MC Hammer’s ‘U Can’t Touch This” and listen to the rhymes, Hammer was just having fun. He wasn’t rhyming incredible, but the track was so intense and that was one of the biggest rap records in history. That’s no diss towards Hammer, but if you get on the right track, the track will take you for a ride. These producers got smart and they’re charging an arm and a leg for a track now, ’cause they know: “You can’t rap really, so I’m gonna charge you!”

There’s also been a marked change in the last few years, with artists like Drake and Nicki Minaj singing as much as they are rapping. Do you feel like that dilutes the art of rap or broadens it?
A good emcee will rhyme a lot of different ways. Don’t limit yourself. Maybe on this record, you’re on something a little bit different, a little house-y, and then for this one you go to DJ Premier for some real hardcore beats, or then you have that big, super, grand DJ Khaled production that’s so incredible. You gotta learn how to change your flow so you’re not doing the same thing over and over again. … Read the whole story by clicking here

Something From Nothing: The Art of Rap – Freestyle Collection [Video]

In honor of the new joint coming out, Something From Nothing…

In honor of the new joint coming out, Something From Nothing: The Art of Rap (June 15, 2012), we wanted to give you a place to catch most (if not all) of the freestyles we could find from it.

Do you think that this will be a good documentary or do you think that it will fall short like so many other “hip hop” documentaries have in the past?  We would like to know what you think.  We also want to know your opinion on these freestyles.  Leave a comment below and let us know what you think.

KRS One:

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Lord Finesse:

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Hmmmm.. Now you can see where Cassidy got his style from.



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Something From Nothing: The Art of Rap (June 15, 2012):

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What are your thoughts? Will you support one of the pioneers of the culture we all love?  Are you going to go see this movie?  Voice your opinion and let us know!



Blast It Or Trash It: Summertime Anthem – Eric Roberson

Summertime Anthem by Eric Roberson ft. the Brooklyn Legend Chubb Rock…

Yo… Hip Hop from a source you might not expect it from has flooded this video.  Summertime Anthem by Eric Roberson (@IAmEricRoberson) ft. the Brooklyn Legend Chubb Rock (@MrClassicFlavor).  Mr. Tracy Lee (@TrayLee) hosts the behind the scenes footage and makes a cameo in the video.  Stay tuned in after the behind the scenes footage for the official video.

There is no way possible you can overlook the concept of the video.  Do The Right Thing, check it out, and let us know… Blast It Or Trash It!!

Source: The Archives

SupaVision Interviews A Growing Force In Hip Hop: Pinc Gator

We found a new spot to listen to more good music. We…

We found a new spot to listen to more good music.  We missed the live broadcast, but we found the recording and decided it was fresh so we posted it.  Live from the Supa Vision studio c/o @RadioSupa, here is LIVE FROM THE FORTRESS.  This week they interviewed a growing force in hip hop, Pinc Gator.

Check it, and let us know what you think.

Blast It Or Trash It: Music For The Masses – Wordsmith

Wordsmith drops a new video for Music For The Masses…

Wordsmith (@WordsmithMusic) drops a new video for Music For The Masses off the upcoming LP, King Noah.  This track is smooth and covers the meaning of music for the masses… hence the name.  What we want to know though… is… what do YOU think about it?

Blast It Or Trash It?  Leave a comment below and let us know.

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