There is an old joke. Someone in New York City asks someone else, “How do you get to Carnegie Hall?” The other person answers, “Practice, practice, practice.” Hip hop has helped modernize that age-old bit of humor, allowing a new answer, “Hustle, hustle, hustle,” and all the double-entendres that are implied when the hustler on the legendary stage is rap icon Jay-Z.

This is as much a feat for Brooklyn drug-dealer-turned-rapper-slash-mogul Shawn Carter, as it is for hip hop itself, a genre of music which continues to face ridicule and misunderstanding by art elitists and everyday musical bigots. Jay-Z in fact, who has never strayed far enough from a street-level base to become as ‘harmless’ to the general public as a Will Smith for example, forces middle-America (or at least middle-New York) to almost fully accept him and his occasionally raunchy ways. Maybe it’s the gamut of businesses he controls. Maybe it’s the personal connection with the president. Maybe it’s the hanging with Warren Buffet. Whatever it is, if there was one rapper that the establishment would have to let grace the hallowed stage built by Andrew Carnegie, it would be Jay-Z.

Of course, the best way to ensure such a feat would be to follow in the philanthropic footsteps of Mr. Carnegie, thus, the two-day concert event was technically a charity event, benefitting the United Way of New York, and The Shawn Carter Scholarship Foundation.

Which is also a clever way to buffer the harsh truth that few mere mortals could attend such a historic event, leaving the sold-out seating full of those who could afford hundreds, if not thousands for entry. While this adds to the fuel of some who recently charge that the rap titan’s wealth and proximity to the stratosphere of entertainment and business gods has removed him from the fans, at least in this case, it was necessary, and for a good cause.

In any event, here are a few interesting pieces from various sources which covered the concerts:

T-Shirts, Tuxes and Rap Without Frills [The NY Times]

Jay-Z Brings Brooklyn ‘Glory’ To Carnegie Hall [MTV]

Jay-Z at Carnegie Hall: Rapper’s Benefit Concert Includes “Glory,” Orchestra and Questlove [HuffPost]

 Jay-Z Celebrates Historic Carnegie Hall Performance at his 40/40 Club [Rolling Stone]

You don’t even like rap that much anymore.

Not since the days of De La Soul or Tribe anyway. And you don’t get out much, even though you live in New York City. Definitely not to a rap show.

Hip hop is boring these days. You don’t even really listen to the radio, and anyway, it’s all Southern shit. Some of the new NY guys are good, but overall, nothing you hear really appeals to you. Live shows are usually a two hour waste of time spent standing around.

They just don’t do it like they used to.

But then your buddy calls you up. One of his co-workers is a rapper, and is doing some kind of show at Kenny’s Castaways, a Bleeker Street staple. “Nothing crazy, should be fun,” he says.

You groan, “It’s Thursday.”

He’s playfully dismissive. “Who are you, my grandpa? Look, it’s an 8:30 show,” he tells you, “Plus, these guys are great.”

“Rappers aren’t great anymore,” you remind him, playing up the grumpy old man vibe. “Rap sucks nowadays, especially in NY.”

“Man, we’re in our mid-20s,” he reminds you, “Stop sounding like my dad. I’m telling you, there’s good stuff out here. Come through!”

He’s a good friend. You don’t get to see him much.

So, you go.

Kenny’s Castaways is a railroad apartment-like bar, long and narrow. You walk to the back performance area. It’s no Hammerstein Ballroom, but it’s not closet-sized either. 50 people could hang back there pretty comfortably.

Before you can enter the back area, you are greeted by a young lady at the ticket table. She wears a placard on a lanyard. It’s marked ‘STAFF.’ An interesting bit of professionalism, you think, for such a small venue.

A stage sits at the front, with some seating along the sides of the standing-room area. Overall, a nice, small, intimate space. “Perfect for singer/songwriters,” you think, “but not for having to watch boring rappers standing two feet away. Hope they have breath mints.”

You pay, $10, standard fare (though had you known of the show ahead of time, advance tickets were cheaper). You’re handed a large manila envelope, as if you were a spy, and it, a dossier. You’re used to collecting a  pocketful-worth of 4×6 glossy postcards when out and about, but this is different. You look at the merchandising tables that are set up. There are CDs. T-shirts. One artist is selling a book (!). There are many STAFFs helping out. Other folks are mingling, talking, laughing. Many know each other, some don’t, but all are pretty friendly looking.

Nary a screwface at this well-organized rap event. Refreshing.

The warm up DJ is setting a great vibe. Spinning mainly NY-centric rap classics, DJ M-TRI is composed and casual behind the ones and twos, smiling and nodding to folks on the floor who are also familiar with him as an MC, working alongside partner DJ Leecy T. M-TRI has a swift hand on the cuts and great taste in tunes, handling the pre-game music duties perfectly.

But now it’s showtime.

Ciph Diggy hosting (and refereeing) Tag Team Delux at Kenny's Castaways

The theme to Rocky begins playing. The MC of the event, Ciph Diggy, is also an actual MC, but tonight he is strictly playing the host role. Along with the triumphant trumpets, he begins simulating Sylvester Stallone’s intensive training regimen in the legendary boxing flick, though quickly, and humorously, he succumbs to the effects of a slightly less conditioned body.

The improvisation is for a reason. The theme of the show is a Tag Team boxing match, with headliners Tah Phrum Duh Bush and Coole High, along with opening artist MeccaGodzilla (aka Ravage, also aka Ryu Black), set to trade blows with imaginary and symbolic “wack MCs.”

You do a double-take.

“Wait, there’s a THEME?” you ask your friend.

He nods, knowingly. You smile a little, watching Ciph Diddly flailing around in attempt to regain his physical composure.

“Well, that’s different,” you whisper.

Ciph Diggy energetically introduces the opener. MeccaGodzilla is his name. They say he is big in Japan.

“That’s what she said,” you mutter, to no one in particular.

MeccaGodzilla opened the Tag Team Delux concert

MeccaGodzilla, rocking two impressive multi-finger wooden rings, each spanning the combined width of his knuckles, ignites into a passionate and lucid acapella. He speaks with the crowd. He proudly proclaims his allegiance to Long Island. “That doesn’t happen often,” you think to yourself, recalling with fondness the slew of legends that have emerged from the proverbial 6^th borough.

MeccaGodzilla runs through his set, speaking on his extensive touring experience in Japan (apparently, he IS pretty big in Japan), talks a bit about his feelings, his inspiration for recent work and his involvement with a fundraising event to send aid to Japan after the earthquake disaster. The crowd was tuned in, and MeccaGodzilla finished strong, culminating with his uplifting and inspirational “Unbreakable.”

Getting caught up in the theme, you say to your buddy, “Nice undercard! Time for the main event?”

Indeed. Tah Phrum Duh Bush emerges from the back of the room, adorned in what looks like a boxer’s robe slash smoking jacket and shorts. He moves through the crowd toward the stage, one fist covered by an oversized boxing glove, the other gripping the microphone, his fans, friends and newcomers all cheering him on.

He is clearly ready to do verbal battle.

Tah Phrum Duh Bush

Tah Phrum Duh Bush jumps into an rattling acapella, at once alerting all in attendance that this is no mere gimmick show… There are heavy spitters in this match. As he concludes his opening salvo, and the small but highly engaged crowd claps and cheers, the first tag is made.

Coole High appears, sporting a red robe, also with a single boxing glove and a mic, launching in to his bouncy and enjoyable “Who?” which smartly works his name into the call and response chorus.

After that, you couldn’t forget his name if you tried.

Tag. Back to Tah.

This back and forth, complete with costume changes from behind a shoji-like partition at the rear of the stage, continues for the entire event. Throughout, Tah Phrum Duh Bush is smart and clever, you can tell by his lyrics, especially his punchlines. He is enjoyable even when, or especially when, depending on your squareness, he is playfully vulgar with his lyrics. He’s clear on the mic, catches eye contact with every single listener at one point or another. He walks through the crowd. He changes not only clothing, but characters, at one point imitating a sermonizing preacher. He is always up front and personal, in your face, but never overbearing.

It’s fun.

Coole High, rocking his Tag Team Delux concert with Tah Phrum Duh Bush

Coole High is simply a cool character, charismatically cerebral. His conversations with the crowd, costumes and call and responses are well coordinated. He oozes smooth, with several jazz-influenced tracks that compliment his style and flow. In another era, and indeed even now, Cool High would be as comfortable at a rap show as sipping on a brandy at the Blue Note, and this inviting aura is clearly infectious. He treats the crowd well, and they respond in kind.

It’s cool.

As if good rappers, good music, themes, costumes and a good crowd (which, by the way, had a better male/female ratio than one might expect), weren’t enough, the creativity of these artists came to the forefront several times, as props were introduced into the crowd, stepping audience participation up a notch. From within the manila envelope, you pull out a giant hand cutout from card stock paper, middle finger displayed prominently, and join the rest of the crowd waving it around to complement Tah’s apropos “Middle Finga.” Coole High hands out ping pong ball shakers, in effect crowdsourcing backup acoustics from the eager crowd.

Yes, even you Mr. Rap Show Hater.

As the show closed, it seemed perfectly timed. Not too short, not too long, with a second set to soon start. “Pretty smart,” you say to your friend. “Two medium-length sets, instead of one big long one. Gives people who are late or can’t make the first one, the chance to see the show as it’s intended to be seen, instead of awkwardly catching it in the middle.”

Your friend agrees, informing you, “Even better, the second set won’t be a duplicate of the first, it’s all different. It’s like a reward for diehards who stay for both!”

During the break, you refill your drink and mingle about. You meet a couple random people, one a fellow MC who goes by the moniker E.E. Delrey (the E.E. for Eclectic Emcee).

While rappers, New York rappers in particular, often have a bad reputation of not supporting one another, it’s clear that Delrey is impressed, unintentionally presenting a summation detailing how you felt about your unexpectedly enjoyable night at an underground New York rap show.

“It’s definitely a showman’s show,” the braided wordsmith states, smiling. “They’re great. It’s impossible to leave here and not have been entertained.”

You agree. For most hip hop heads, no matter their particular style preference, this show would pretty much be a hit.

You smile, still adhering to the theme.

A knockout, even.

VIEW MORE PHOTOS FROM TAG TEAM DELUX
(All photos by Kamia Funchess for Phocus Kam Phototgraphy)  

It’s now 2012, and while many of us are in the full swing of things with new music for the new year, some are still stuck in the notion that New York Hip Hop is either stuck in or should sound exactly like 1994.

Fortunately, the new crop of NY’s finest are marrying the home of hip hop’s traditions with a bold look toward the future. Here’s a quick playlist of names you either should know by now or need to know in 2012.

Action Bronson

Dining with Anthony Bourdain one minute and recording tracks with Meyham Lauren the next, Bronson’s taste for fine foods, 80s professional wrestlers and pop culture nonsequitors is only matched by his tireless work ethic and an almost unfair quality control. With two outstanding albums in last year’s Dr. Lecter and Well Done as well as several announced projects in the coming months, the eclectic Energizer Bunny of rap just keeps going as an excited audience keeps listening.

A$AP Rocky

With both a decade long stigma of rejecting outsiders as well as a genocide of its record stores, you wouldn’t expect an NY talent to wear the influence of other regions on his sleeve. Harlem’s A$AP Rocky stands as New York’s first child of the post-Napster generation to combine the hustle and sleekness of his hometown with, among other inspirations, Memphis’s brooding crawl and Houston’s spacey ingenuity. Not merely a revivalist, the tradition he most proudly carries is an unmistakable rugged boldness that only Harlem could manifest.

Brown Bag AllStars

Individually the members of Brown Bag AllStars could account for half of this list, but together they form a Castle Greyskull of boom-bap viciousness. As insular as they are talented, their work ethic and self-awareness allows for release after release of playing to their own strengths. Rappers Soul Khan and Koncept have both recently released projects entirely produced by fellow members and with both J57 and Audible Doctor producing on some of the year’s most anticipated releases, the crew’s upcoming debut album promises to be the best record the crew’s fallen nexus, Manhattan’s Fatbeats Records, was never able to stock.

Dollar Coffee

The duo of BS and Albert Rhymestein know what made you first love rap music and, on their debut Nice Things, bring you right back to that feeling. Catchy, complex and cunning, the duo are as skilled at earworms as they are at rocking a crowd. That includes most recently receiving the rarest of warm embraces from New York’s Apollo Theater. With enough punchlines and hooks to win a fighting championship, Dollar Coffee remain the tag team champions of good time hip-hop.

Homeboy Sandman

Although he now calls Los Angeles’ Stones Throw records home, it’s still same number, same hood for New York hip hop’s archangel. Not satisfied with his already astronomical heights, Homeboy Sandman continues to push boundaries conceptually and constructively with his Subject Matter EP. As bold as it is to base an entire project on the concept of touching topics rap has never covered before, it’s only the beginning. Sandman’s reliability for dope rap music doesn’t stem from his staying the same, but his desire to continue evolving.

Mr. Muthafuckin’ eXquire

Last year’s “Huzzah” turned heads both for how dope it was as well as the promise it held for dirty Fondle ‘Em style hip-hop to be made today. Mr. Muthafuckin eXquire doesn’t give the slightest of fucks about any of this, which makes his music all the more refreshing. The exact midpoint between Camu Tao and Method Man, eXquire’s keeping things progressively dangerous live and on record.

Silent Knight

Intelligent without being overbearing, outspoken without being heavy handed, and brave without being boring, Silent Knight makes the type of hip hop an entire generation of underground revivalists have unsuccessfully attempted to. One of the few MCs to emphasize subtlety over showcasing, Knight brings a fresh sound to the hallmarks of New York underground rap that have for too long been glossed over or forgotten. Along with a stellar album in Busy is My Best Friend, Silent Knight’s live show is among the best today. A showman capable of rocking a party while maintaining an unforgettable intimacy, he’s a rapper’s rapper who will only continue to excel throughout the new year.

The 3rd “Is Hip Hop History?” conference features the work of researchers, hip-hop industry practitioners, artists, and working adult students. Keynote speakers: legendary DJ/producer Pete Rock and author Dax-Devlon Ross.

It will be held Friday, February 24, 2012 and Saturday, February 25, 2012 at the CCNY Center for Worker Education at 25 Broadway, 7th Floor, NYC. Below is a tentative schedule for the two-day event.

For more information, visit the CCNY website.

Friday, February 24, 2012

Conference registration 5-6 P.M.

Special film screening 6-8 P.M.

All the Ladies Say - Ana “Rokafella” Garcia, B-girl and film director

NYC born and bred Ana “Rokafella” Garcia began her career dancing on the streets with the NYC Float Committee, The Breeze Team and the Transformers. After performing background dance for singers and featured in music videos, she co founded Full Circle Prod Inc- a non profit Hip-hop dance based organization with husband Kwikstep. She has offered workshops at MIT, Howard and NYU as well as community centers such as El Puente and The Door. She directed the documentary All The Ladies Say which was screened as part of Lincoln Center’s Dance On Camera film festival and the UK’s Women in Hip-Hop Festival at the Southbank Center.

Keynote address 8-9PM

Pete Rock, legendary producer and DJ

Also known as Soul Brother #1 and The Chocolate Boy Wunda, Pete Rock has arguably pioneered the fusing of jazz, funk and soul into hip-hop as well as laid down the blueprint for beautiful soulful production in hip-hop. Pete Rock revolutionized rap production through groundbreaking studio wizardry and by making remixes matter more than the original songs while establishing ad-libs as a standard recording asset. Over his career he has worked with a wide range of artists and acts from pioneering hip hop acts such as EPMD, Run DMC and Public Enemy to Madonna. Pete Rock’s lecture will focus on modern technology versus old school hip-hop skills.

Saturday, February 25, 2012

Conference Registration: 10-11 A.M.

Keynote Address 10:30 A.M. – 12 noon

Dax-Devlon Ross, author The Nightmare and the Dream: Nas, Jay-Z and the History of Conflict in African-American Culture

A law and justice contributor on WOLDC and the author of six books, Dax has been featured on MTV.com, Democracy Now, and Pacific Radio. His work on race, youth culture and criminal justice has been cited by The New Yorker, The New York Times and The Christian Science Monitor. He has lectured on literature and hip-hop culture at Fordham, Pace, and NYU.

Dax’s The Nightmare and The Dream compellingly argues that the battle between Nas and Jay-Z at the turn of the millennium was the latest in a long line of creative conflicts between complex, oppositional African-American icons. An absorbing voyage through time and rhyme, Nightmare situates the philosophy and imagery of two of hip-hop’s most intriguing, innovative and controversial icons within a tradition of rivalry and explains how and why their truce can be read as a pivotal generational moment that could and should be utilized as a teachable moment in the classroom and beyond. Ross obtained his Bachelor of Arts in Philosophy and English from Rutgers University and his Juris Doctorate from George Washington University Law School.

12NOON-1PM LUNCH BREAK

FILM SCREENING 1-3 P.M.

Style Wars screening 

Q & A with the film’s producer Henry Chalfant, legendary photographer and videographer

Henry Chalfant is a well known and highly-regarded urban culture photographer and videographer most notable for his graffiti and breakdance photography and film. He is highly regarded for his wide knowledge in hip hop and the underground culture. A graduate of Stanford University who majored in classical Greek, he co-authored the definitive account of New York graffiti art, Subway Art and a sequel on the art form’s worldwide diffusion, Spraycan Art. Chalfant co-produced and did the background research and photo-documentation for the 1983 documentary film, Style Wars, first shown on PBS television in 1984. He is one of the foremost authorities on New York subway art.

PANEL 3-5 P.M.

A Call for Papers Presentation

New York hip hop is made up of a variety of style and substance that no other rap region can match. From street-styled thug raps to hipster-friendly wordsmithing, from vintage boom-bap sounds to live band instrumentation, this depth is, in part, a reflection of the region’s inhabitants. New York hip hop is uniquely positioned, true melting pot music, as diverse as New York’s never-sleeping city and open-air outlying suburbs. This range can be seen in artists’ music video counterparts, some low budget and artsy, some high-budget, ready-for-BET affairs. Once again, we decided to sift through the dozens of videos from New York-area hip hop artists that cross our path on any given month, sharing some we feel are notable. This batch contains a few videos from late 2011, and a couple that are fresh out of the oven, but all are fairly recent examples that we think do a great job at visualizing the dynamic range of New York hip hop.

Darq ft. Amy Davis – R.A.W.

Let’s start right with this. If you are an underground/indie artist, and you are going to put together a video in an attempt to set yourself apart from the pack, this is one helluva way to do it. Many videos attempt to self-proclaim themselves “motion picture,” and don’t live up to the hype. This project however, directed extremely adeptly by Kristian Kruz, gives Darq Raw, a heavily grinding Bronx MC, a pretty fantastic calling card that should get people asking “Who is Darq Raw?” and certainly should have artists who are looking to make videos asking, “Who is Kristian Kruz?” Well done.

Check out photos from Freestyle Mondays 10 Year Anniversary event, held at 116 in Manhattan, on January 9, 2012.

When we first named Freestyle Mondays one of our “5 Reasons Why New York Hip Hop Doesn’t Suck,” we said:

For anyone who needs a proper introduction to (or reminder of) the wonderful world of artistry, entertainment, passion, fun and respect for jam session lyricism that lives in hip hop’s heart, you could find absolutely no better place to spend a Monday night.

The location may be changing once again, but the message of that statement remains as true as the day we wrote it. Freestyle Mondays, the weekly, musician-backed, open mic haven for hip hop lyricists with a penchant for impromptu rap, celebrates a decade of nearly continuous weekly sessions, starting 2012 in a new location, but with many of the same participants expected to be in the house.

Freestyle Mondays is led by two longtime hosts and co-organizers: iLLspoKinN, an artistically macho, experienced and charmingly enjoyable artist who continues to tour worldwide, and Mariella, a glowing chanteuse who sounds as at home in a rap groove as she does when performing R&B and jazz throughout NYC and the rest of the country.

Freestyle Mondays' hands-on hosts iLLspoKinN and Mariella

The combination of iLLspoKinN’s expertise at off-the-cuff rapping and engaging interaction with the crowd, and Mariella’s shimmering personality and hypnotic vocals, is an effective enough selling point for the showcase. Add to this a steadily impressive cast of highly competent jam musicians backing the duo (along with DJ MilkMoney holding down duties on the wheels of steel), the mixed-demographic, friendly audience and respectful, talented and (usually) enjoyable freestylers, and you have a winning formula, proven by the mere fact that we are talking about a ten year anniversary.

The vibe favors wordsmithing and verbal craftsmanship over roughneck posturing, but MCs of all persuastions are able to repeatedly rock the mic throughout the night. In general, less entertaining rappers will take the audience’s tempered enthusiasm as a hint, and disappear into the night, leaving the more adapt performers behind to entertain and enthrall.

Freestyle Mondays has spawned sister chapters in the Czech Republic and France, and the original incarnation remains a must-see event for fans of hip hop’s off-the-dome ingenuity, and a must-do rite of passage for any MC who values the sometimes-lost artform of freestyle rhyme.

The Freestyle Mondays 10 year anniversary will take place Monday, January 9, 2011 at the event’s new location, 116, located at 116 MacDougal St., between Bleeker and W. 3rd, New York City. The events begin at 10 p.m., and are free, but well-deserved donations will be collected throughout.

www.FreestyleMondays.com – www.facebook.com/freestylemondays
www.ustream.tv/channel/freestylemondays

Too many people, particularly those who long for New York hip hop to “come back,” waste too much time complaining about today’s hip hop, when they could be using that time to discover good hip hop music from today’s New York-area artists.

Instead, they grumble about the current style and substance of mainstream hip hop, the R&B-influenced sound of Drake for example, or the lyrically simplistic style of some Southern rappers and the overall lack of traditional New York flavored hip hop on radio, stating with repeated disgust that “real” hip hop is dead and gone.

They lament the loss of the New York sound, nostalgically pining for 1990’s boom-bap sound that many of them grew up on, screwing up their face and dismissing any “Top 5, Dead or Alive” list that doesn’t include Jay-Z, B.I.G., Nas and Jadakiss.

All of which are fine opinions, but let’s be real about real.

Saying you want “real hip hop” back, is stupid. There is no “real” hip hop.

What you really mean to say, is that you miss traditional, New York sounding hip hop, a mix of grit and poetry, over beats that utilize chopped up samples, or soul music loops, accompanied by hard hitting, crispy drum sounds, for the most part floating around 88-92 beats per minute. A type of hip hop that was a nod to rap music’s early days, but with updated storytelling, increased lyrical prowess and advanced musical complexity. A hip hop that you once enjoyed while laying back, puffing an L, feeling an emotional twinge of invincibility tied to a feeling that these slick-talking rappers and hard-hitting beatsmiths were just like you. Artists that somehow packaged and delivered the collective feeling of living in New York into sounds and songs that stuck with you then, and continue to evoke feelings of euphoric nostalgia ever since.

THAT was “real” hip hop, right? What you hear on the radio today, that’s not “real,” right?

Wrong.

The problem is, you are selfish.

But it’s understandable. You are focused on a very short amount of time in hip hop’s lifespan and because it was a particularly formative time for you musically, you feel a certain way about that time period, and the music contained therein.

Your assertion that 1990s New York hip hop is covered under the umbrella of “real” hip hop, whereas “today’s” hip hop isn’t, is wrong, and is created by a combination of your particular taste in music and your respect for hip hop history, but mainly because of your psychological bias.

To be fair, it’s an age-old argument. When asked to pinpoint the best decade for music, people overwhelmingly respond by choosing a decade from their youth. This generally holds true across all genres and generations.

Your prejudice toward 1990s New York hip hop exists because that was likely the time that you were fully immersed in music, when music not only was something listened to constantly, but something to connect to.

Since then, life got in the way, and while hip hop evolved, you held on to your personal tastes, your preferred style. You listened to vinyl and cassettes and CDs in your collection. You ported over your songs to your iPod and replayed certain albums you had forgotten about. Sure, you still listened to what was new, but the time that you previously dedicated to absorbing everything new, became fractured.

You lost the ability to connect to new music, partially because you grew older. Mainstream music of course is specifically engineered to cater to a younger crowd, and because your time and energy was being spent elsewhere, your inclination to seek out music more along the lines of your musical tastes diminished as well.

Plus, you still had your favorite joints up in the iPod.

But young people, entering their own formative music-listening years, were still being hand-delivered hip hop, though what was now on the radio sounded a lot different than just a few years ago when you were coming up.

To be real, this was just a continuation of the evolution of hip hop, beyond your personal glory days, just as it had evolved from the Sugar Hill Gang-style rap from half a generation before you.

Now, a new batch of kids started immersing themselves with the prevalent hip hop of the day, which to them, no less “real” than the music you got into.

I mean, before we can criticize today’s hip hop as any less “real,” we must take an objective look at how different Mobb Deep or Snoop Dogg was from the Treacherous Three or the Fat Boys.

Understand the point?

Look, I know what you mean. But you have to get over it. The fact is, Drake IS real hip hop. So is Waka Flocka Flame. So is Tupac. And Biggie. And Run-DMC. And MC Lyte. And Kurtis Blow. And Melle Mel.

But to a 15 year old who grew up in Atlanta his whole life, having been exposed to the type of hip hop he is regularly exposed to, there is no way you can contend that to him, and others like him, his hip hop is not “real” hip hop.

It’s all “real.” It’s not all “real good,” but not every New York rapper in the 90s was either.

And don’t forget that in the 1990s, there were many less distribution channels. Less geographical hubs of rap music. New York hip hop was dominant in the 1990s because there were few places labels were culling hip hop talent from in the 1990s.

Once they figured out that there was an entirely different, underserved and undercapitalized market, the distribution companies (labels, radio, media) flocked to these untapped markets.

While it is true that for the most part they have yet to return, it does not mean that New York hip hop is dead.

It also does not mean that good New York hip hop has to sound exactly like it did in the 1990s.

To 1990s New York hip hop fans: I feel you. I am one of you. I am as pro-New York hip hop as anyone, but to be pro-New York hip hop does not mean we have to be anti-everywhere-else hip hop.

I also came up during the New York hip hop “Golden Era” of the 1990s but I am not stubbornly stuck in the musical past. By being open-minded to the evolution of hip hop, not wasting time crying over spilled rap milk, I have found plenty of New York-area artists of today, who satisfy my purist, old-school hip hop soul.

New York has always been a progressive city in terms of music, from jazz to musical theater, from punk to hip hop, magically infusing its artistic residents with an ability to create or advance music in ways no other place can. This continues today, as the bubbling New York hip hop underground is the center of our entire journalistic effort, and in that effort, we continuously come across sparks of new talent, artists who possess that same nod to rap’s earlier days, also with an updated storytelling, increased lyrical prowess and advanced musical complexity.

They are in your city. Some live on your block. They perform at venues all throughout the city, and for a few dollars, you can see them perform. Sure you’ll have to sit through a lot of mediocre artists first, but at least, unlike the radio, there’s a payoff at the end of these efforts, delivered by an artist of today that will at the same time invoke a pleasant feeling of nostalgia, mixed with a feeling that you’re hearing something new and fresh.

And if you let it, it will feel very, very real.

Born into music, Joshua Davis-Henry, better known as Skotch Davis to his fans, always had hip hop in his blood. His father was a musician who worked with artists like Maceo Parker and Nas. His mother was also surrounded by the culture and music as a club promoter for acts like Goodie Mob, The Lost Boyz and Jay-Z, just to name a few. Having been raised in the neighborhood of Harlem into a lifestyle that glorifies music, it’s no wonder Davis has begun to pave a road for himself in the music industry. He has recently released his latest project Are You Hearing Me Clearly?, a 10-track mixtape hosted by DJ Fresh Direct. Making strides to take his career to its next phase, this project sets the tone for what we can expect from Skotch Davis in the coming new year.

Getting rid of some of the static, Birthplace Magazine recently spoke with Skotch Davis on a variety of topics to make sure we are hearing him clearly.

BPM: Who is Skotch Davis, the artist and the man behind the artist?

SD: I mean… Skotch is a melting pot of many things. So many, it’s kinda hard to narrow down into a sentence. For time sake, let’s just say he is a righteous soul that works hard to present as much of the truth as possible. The man behind the artist is a whole other subject… [laughs]

BPM: What was your childhood like considering you grew up in a house full of musicians?

SD: Probably the most amazing and insightful experiences a man could ask for. I am more than grateful that I was raised in such a setting. It’s the quintessential element of what Skotch Davis is all about: Family and music.

BPM: What genres of music were you exposed to at an early age? First memory you have of hip hop?

SD: What genre wasn’t I exposed to?! My father is a proverbial sponge when it comes to music. So it’s only right I soaked up all the wonders of music. My first memory of hip hop was a rap group my uncle and father were working on called The Little Rapscals. They opened for LL Cool J when I was young. That was awesome! LL Came out of a radio!

BPM: And what was your initial reaction after your exposure to hip hop culture?

SD: I loved it, but I was so immersed in music as a whole, I never really saw the barriers or classifications. I just loved music. For obvious reasons though, hip hop became my vehicle to speak my opinion and views. It was and is the music of my generation and many to come, as well as many before. It’s the cornerstone of my culture.

BPM: Career-wise and the lifestyle you’ve chosen.. Why hip hop?

SD: I didn’t choose it, it kinda chose me. As I grew into the man I wanted to be, I kinda had no choice but to adapt to some of the nuances and obstacles that accompany the “hip hop lifestyle.” I am trying to break some of those standards musically and culturally though. It’s time we try some new approaches.

BPM: What do you want to contribute to the genre and culture?

SD: I just want to break musical barriers and stereotypes while improving the quality of living and the standard of living in the culture.

BPM: What is your creative process like when you’re creating, writing and recording?

SD: It varies. Sometimes I like to live with a concept or beat to ensure I really convey my idea properly. Other times I like to just record on the spot to capture the initial emotion that the track gave me. Sometimes I write, sometimes I don’t. It’s all about how the vibe.

BPM: What are some projects you are currently working on?

SD: I just dropped Are You Hearing Me Clearly on my birthday which was Black Friday, November 25. It was a warm up to my OMG (On My Grizzly) project, due out at the top of 2012. I also have a self-produced project titled On The Rocks. I produced all the tracks with my partner DJ Fresh Direct.

BPM: What kind of growth do you want to showcase on your next project?

SD: I want to make it a point to showcase my production more. My lyrical prowess will only be turnt up as I try to always out do myself. Tell myself I can do better than the last bar. The collaborations are fun. Some no brainers and other surprises.

BPM: Your thoughts on music collaborations with artists outside your genre?

SD: It is essential to the growth of music and is pinnacle in reference to my own motivation to break barriers.

BPM: In your opinion, who is the most influential artist that is out right now? And of all time? Why?

SD: Hip hop? It’s Jay -Z. All time in hip hop? That’s tough to say. Its tough to say in music in general as well. I think it’s hard to see an artist influence until they stop making music and the other artist or consumers that were growing with the artist get a little older. See how lasting the effects of their gift really was. If I HAD to choose one figure, I’m going with Michael Jackson.

BPM: Top five, dead or alive?

SD: Rappers… Hmm.. I have a top three.. Jay, Big & Nas.. Every number below that is interchangeable and subject to my mood.

BPM: Mainstream vs. Underground, your thoughts? I’m an underground music enthusiast and I personally believe an artist can be successful without the “mainstream” or major label backing. What are your thoughts?

SD: Whatever floats one’s boat. I don’t feel any way about either. It’s all music. The funny part is that the people not making the music worry more about the classification of it than the artist themselves. We just do what we feel and makes us move. Literally and figuratively. Great artists transcend such restraints.

Skotch Davis performing during SXSW 2011 (Photo: Manny Faces)

BPM: Recently saw your performances during the RBMA festival and I must say, your performance is very high-energy and attention grabbing (and that was actually my first time seeing you perform live). What do you personally love about live shows?

SD: My chance to engage an audience and change their mind one person at a time. When you record, you don’t know how people will recieve that recording. But live? You have the chance to change their perspective while looking them in the eye. Its amazing!

BPM: What are your goals for the rest of the year and for 2012? What can we expect from you?

SD: Me times three, if not more. I’m shooting for the stars! More bars, production & skidddddotch!

BPM: What would be your one piece of advice to other artists on the come up?

SD: One surefire way to lose the race is stop running. KEEP GOING!

BPM: If hip hop were a person, what would you say to him/her?

SD: I got you. I got us. *Drake voice* [laughs]

While some could only imagine living a life that’s clear on it’s purpose, it’s safe to say that Skotch Davis is set on making his mark in hip-hop. If you’re not hearing him clearly yet, it’s definitely time to clean the wax out of your ears and get in tune with his music.

The XXL Magazine Freshmen Class has become a buzz-worthy yearly event in hip hop, a perceived rite of passage for up and coming artists, presumably to reward the efforts of their achieving notoriety on the upswing of their career. Though the long-term predictive ability of the list has been questioned by many as being less-than-clairvoyant, and in recent years, the lack of viable New York artists (rectified only slightly by last year’s nomination of Fred The Godson, and to a much lesser degree, Diggy Simmons), it appears as if XXL, feeling the heat of their own selective process, has introduced a new way to include, but not include, many other candidates.

XXL has opened up voting for a “Reader’s Choice,” and allowing for 50 of the “most mentioned names”  among their deliberations to be voted on by the public in an online poll, the results of which will be added to the magazine’s 9 official picks.

That’s cute and all, makes the public feel involved, but it also doesn’t make much sense. Are the actual 9 official choices also going to from the same pool? If that’s the case, isn’t the likliehood going to be that the public will also choose one of the official 9? If THAT’S the case, then is XXL going to have one of their official 9, ALSO be the Reader’s Choice? Or (more likely), they will pick either the highest voted, non-top-9 pick to fill that “Reader’s Choice” slot, or, just pick their own anyway, in either case, rendering the actual voice of the people, unheard.

Whatever the outcome, the result is obviously simply a play for online page views and to encourage spreading the Freshmen Class word among social networks, and will do little to offer any real addition to a list that already exists largely simply to create controversial discussion among hip hop debaters. That being said, we noted a couple of New York-area representatives in the mix (Action Bronson, A$AP Rocky, Emilio Rojas, French Montana, Mr. Muthafuckin’ eXquire, Neako, Outasight, Reek Da Villian, Smoke DZA, The Kid Daytona among them), so we’ll see if any of our hometown folks make the cut.

If you feel like playing the game in advance of the April 2012 cover issue, swing on over to http://www.xxlmag.com/XXL-freshmen-2012/. Voting ends January 1st.

(And hey, vote for some New York cats just for the hell of it, even though we all know only A$AP Rocky and French Montana have any real shot.)

The Hip Hop TakeOver is a yearly radio event on New York’s WBAI, a 24-hour marathon of hip hop programming led by WBAI personality and behind-the-scenes architect, Ife Dancy. The last full TakeOver, held in June, featured programming blocks led by several New York-area DJs, radio and music personalities, delivering a true assortment of music, commentary and entertainment to the area airwaves.

Today, Saturday, December 10th, the Hip Hop TakeOver returns, in conjunction with the good folks at SunToucher Entertainment, for a “mini-thon,” a junior version of the full TakeOver that will begin at 4 p.m. and last until 1 a.m. Sunday morning. The planned schedule is below, and we imagine there will be several guests and unplanned moments of radio gold interspersed with the expected scheduling.

READ: WBAI was previously named one of Birthplace Magazine’s “5 Reasons Why New York Hip Hop Doesn’t Suck”

The Hip Hop TakeOver begins with Kangol Kid, of veteran group U.T.F.O., who will be speaking on the Mama Luke Foundation, an organization tackling the issue of breast cancer, while later in the evening, more legendary hip hoppers will be taking over the mic, including NYOil (formerly Kool Kim of the UMCs), DJ Johnny Juice, and beginning at 9 p.m., the Cold Crush Brothers. DJ Evil Dee closes the TakeOver out, starting at 11 p.m.

Be sure to support New York hip hop in one of its most treasured forms, radio, and tune in to WBAI 99.5 FM, New York City or online at www.wbai.org.

The Hip Hop TakeOver Schedule

4 p.m. – Kangol Kid from UTFO
5 p.m. – Crazy Legs of the legendary Rock Steady Crew
6 p.m. – NYOil aka Kool Kim of the UMC’s
7 p.m. – DJ Johnny Juice
8 p.m. – DJ Lady Love and RD Smiley
9 p.m. – The Cold Crush Brothers
11 p.m. – DJ Evil Dee