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CELEBRITY PAYDAY

This week has seen Brandy gain some level of legal closure over compensation for a 2006 car accident that left a woman dead (see Grind Mode Connect 'News' section).   However, she has still to finally settle with the woman's husband who refused $1.2 million in compensation for the accident.  This instance may point to the man not having really dealt with the tragic loss of his wife.  Then again it may point to a feeling that he can gain more financially. 

While we can speculate, we cannot know the true reasons behind the husband's refusal of compensation.  However there does seem to be a spate of celebrity suing - often for far more trivial matters.  Whether it is Justin Timberlake's restaurant, Kanye West losing his temper at LAX or Michael Jackson's concerts - a lawsuit never seems too far behind - regardless of whether the celebrity are themselves at fault or not.

 

While real grievances should be taken through the courts and awarded relevant compensation, could it be that we are going slightly overboard with the whole thing? 

 

I can just imagine it now; there I am walking down the street, looking down to check my phone, when I notice a shadow fall across me.  Before I have a chance to fully look up or react I have encountered Puffy (or 'Diddy' - call him what you will), who accidentally steps upon my new trainers (that's "sneakers" in America).  Stopping to assess the damage I notice that he has creased the leather on one toe and scuffed the outer layer slightly.  What's worse is that he seems to have also crushed my foot very slightly.  Hobbling to a low wall I sit down and gingerly remove my shoe and sock.  Yes!  There it is!  A slight graze on my foot.  I quickly take a picture before shouting, "I'll see you in court" at the rapidly retreating mogul, my $80 shoe quickly turning to potential millions before my eyes.

 

OK - I'm joking and of course such a case would never stand up (would it?).  Plus I would actually be too ashamed to carry it out.  But there are certainly those out there who see celebrities as paydays; whether it is the victims themselves or, perhaps more frequently, at the behest of 'concerned' friends and relatives.  It is a shame that sometimes regular mistakes are followed up by victorious legal action.  We put our celebrities on a pedestal and then act hurt when they fall from grace, forgetting that for all their talents they are people like us.  Their egos may be a little expanded at times (that's the fame) but ultimately they share the same basic hopes and dreams as everyone else.  In our 100-mile-an-hour culture of instant celebrity and instant money (without the effort?) it is all too easy to see the dollar signs, but integrity can't be bought.  Like respect, it needs to be earned. 

 

I hope that Awatef Aboudihaj's husband, Marouane Hdidou, can find peace over the loss of his wife due to Brandy's car crash - but I also hope that such a real tragedy can help put the frivolous claims of others into perspective...

 

Slim (Managing Editor – Grind Mode Media LLC) - www.grindmodeconnect.com and www.grindmodepress.com
 
 
   
 

SKILLS STILL PAY THE BILLS

With Easter done and dusted for another year there are no doubt many of you who are counting the calories ahead of summer. For my part, I caught up with my daughter for a few days and then got on with a little gardening. Not the most ‘hip-hop’ thing to do, I know – but hey…

 

Seeing my daughter was good though because, as is usually the case, I got a chance to play her some music that she may not normally get a chance to check for - either because it is not commercial enough or it is just a little too old school for her and her peers. By the same token she managed to get me a few pieces to check out as usual too. Such is the joy of having a teenage offspring around the place (if only for a few days). What was noticeable was how much her generation seemed to be swayed by the media and what they offer. 

 

Watching videos on the Internet it was clear that she was up to speed with artists like Lil Wayne and Soulja Boy, as expected. However, the real fun came when I played a few curve balls for her and I was pleased to see that she was open to checking out some different styles from those she’d normally (get to) peep. In fact it seemed that she was far more accepting than many people much older than her when it came to listening to something simply for its merits. 

 

So, as she left with some new CDs in her bag I was left feeling that perhaps all is not lost with our up and coming generation of music fans. Tear them away from the oft-repeated music that rides the airwaves and they are more than willing to accept something than perhaps many give credit for. 

 

It seems that skills still count (along with media exposure of course) and for that reason I would like to urge you to take some time and check out a new act called The Score. No, I am not employed by them – and nor do I know them. For fans of solid R&B, in the Blackstreet vein, they are simply worth hearing. Check out our reviews section to see what we made of their debut album but, quite simply because I’d like you to find something new and enjoyable, I’d urge you to check them out… 

 

Hope you had a good weekend, whether you celebrate Easter or not, and I’ll catch you again soon…

 

Slim (Managing Editor – Grind Mode Media LLC) – WWW.GRINDMODECONNECT.COM AND WWW.GRINDMODEPRESS.COM
 
 
 

   
TOP HIP-HOP

This week I have been listening to the radio over in the UK as the BBC (British Broadcasting Corporation) decided to celebrate 30 years of hip-hop.  Thirty years, that is, since Sugarhill Gang’s ‘Rapper’s Delight’ dropped.  Of course it can be argued that hip-hop began way before 1979 – but it seemed like a good enough excuse for some solid hip-hop programming to me!

 

With a weekend full of special shows and interviews, the whole thing culminated in a countdown of the ‘30 most hip-hop.’  With names like Afrika Bambaataa, Grandmaster Flash, Kool Herc, Russell Simmons, Dr. Dre, Chuck D, Kanye West, KRS One, Biggie, 2Pac and Lil Wayne all making the cut there was plenty of room for argument as to who got which spot.  I won’t ruin the countdown by saying who got the coveted top spot as you can check it out yourself online, but suffice to say feathers will be ruffled.

 

However, it was interesting to note that the choices were drawn from a panel of insiders, artists and legends – so those who made the cut were voted by their peers.  There were those who didn’t make the final draw but were rated as the ‘most hip-hop’ – such as when Snoop Dogg name-checked Doug E Fresh, or Kool Herc calling for reggae legend U Roy.  But overall it raised an interesting question – what exactly makes someone ‘hip-hop?’

 

Hip-Hop as a state of mind is something that is hard to pin down – it is not just about rapping on the microphone – it is about a style, a stance, a swagger.  It is in your walk, your dress, your speech, and your mindset.  So to speak on being hip-hop is a far more difficult matter than doing hip-hop.  Of course there is also the consideration of a person’s input to the culture itself as this cannot be overlooked, particularly when looking at hip-hop’s pioneering DJ trinity of Herc, Bambaataa and Flash. 

 

It seems that it is easier to recognize what or who is hip-hop than to describe it.  Of course, if anyone has any views do feel free to drop them here. We’d love to hear them…


 

Slim (Managing Editor – Grind Mode Media LLC) - WWW.GRINDMODECONNECT.COM   AND WWW.GRINDMODEPRESS.COM

 
 
   
 

RIGHT THE POWER

With the perceived proliferation of negative messages pervading through much of what is called ‘mainstream’ Hip Hop music it is often the case that the ‘underground’ is looked to for balance and positive thought. Certainly there are aspects of this Hip Hop underground that spread negative messages and also areas within the commercial mainstream that provide lyrical sustenance to an audience that is fed a steady diet of guns, bitches and drugs. Also, of course, not all rhymes that deal with such destructive themes are themselves glorifying a ‘thug life’ but are instead acting to report on hardships faced by some communities, while others can pass under the radar on the strength of their skill. With such exceptions to an easy classification taken into consideration it still seems that the civil rights informed era of mainstream politicized and positive Hip Hop that prevailed during the late 1980s to early 1990s has disappeared, while the grip of the media (including Hip Hop) over the minds of our societies has increased. 

As a generally white owned media has taken control of Hip Hop’s promotion it seems to have sought to control the messages that are presented in heavy rotation on radio and television. Where once Hip Hop was seen as a mere fad, a passing interest, the musical genre was largely given space to set it’s own agendas with results that spawned the work of acts such as KRS One and Public Enemy: work that seemed to frighten and threaten corporate (white) America. It has been argued that Gangsta Rap undermined the political aspects of Hip Hop to the scene’s detriment, but this theory is not as clear-cut as it would seem. N.W.A., while at times adding an exaggerated bent to their music, still managed to unnerve through tracks like ’F*ck The Police’ while Ice T and Tupac Shakur also found themselves at the sharp end of an anti-rap backlash. Elsewhere, tracks such as Public Enemy’s ‘Burn Hollywood Burn’ saw an embracing of Gangsta Rap’s aggression, not least by allowing Ice Cube time to rhyme, “Red and blue lights what a common sight, pulled to the curb getting played like a sucker, don’t fight the power (gunshot) the motherf*cker.”  Alongside the anti-establishment messages Gangsta Rap certainly maintained a braggadocios air and also glorified negativity, proclaiming itself a menace to society but more tellingly often to it’s own community. However, as mainstream media embraced the money-spinning style it seemed to provide less of a platform for externally aimed aggression in favors of a more self-destructive bent. ‘Burn Hollywood Burn’ became ‘Burn Compton Burn’ and as the dollars came in so the fear diminished. 

 

Hip Hop has not always dealt with politics and it would be wrong to argue that it has been the sole aim of the music to elevate consciousness as of course there was a healthy dose of party and bullsh*t added to the mix, but with tracks such as Grandmaster Flash and the Furious Five’s ‘The Message’ there has also tended to be a politicized edge to it’s rebel music shout. But a glimpse at MTV could cause consumers to feel that as Hip Hop has been steadily co-opted into pop it has seen its anti-establishment edge eroded leaving just so much vacuous bling in it’s wake. 

 

Hip Hop’s forefathers and those that carried the torch into the 1990s were informed by the civil rights movement, by Malcolm X and Martin Luther King and by the power of a struggle that saw past a purely materially minded focus. This grounding, as it were, is something that seems to have lessened as Hip Hop’s newest creators move further from the 1960s and 70s. Perhaps those born under the yoke of Reaganomics have taken on the do-for-self attitude that the era embodied, a greed is good aesthetic that has little time for a more unified and altruistic attitude. Furthermore, as the 1980s saw a breakdown of family and community values under the pressure of the crack epidemic so more people were forced to turn to the media and the streets for succor. Not to say that this breakdown was total or occurred everywhere but as society shifted so too did it’s role models. Without anyone else to turn to many children looked to their peers and the streets, while the images portrayed by the media acted as parental guidance. This can still be seen today, not just in America but also across Western society as governments seek to step in through legal action and the power of the media to guide their citizens,. This cultural shift has in some places even gone to the extent of banning certain fattening foodstuffs that are harmful if eaten in great quantities, as if the populace is not able to make informed decisions as to what to put in their own mouths. Sadly, it seems that many are not.

 

So here we are, with Hip Hop having become an all conquering musical and cultural force but in so doing being altered and manipulated until it’s mainstream message has become watered down. As stated at the beginning this is not happening across the board, but for every uplifting song there are hundreds to counter it. Plus, how often does a track with a positive message get put into heavy rotation? Unless music that contains more positive messages is being marketed and played in the same quantity as more negative ones how can we hope our children hear them? To simply create and release positively charged music is not enough as it is merely preaching to the converted. If you have to actively seek out such music there is little chance of an impressionable youth stumbling across it. Instead, children who either lack the means, the guidance or the will are to find themselves exposed to an MTV world of candy sticks, whips and stacking chips. The media looks likely to maintain a grip on our society even while we seek to claw back a real community spirit and so shouldn’t we ask that it provides more than one view of this society? This is not to advocate widespread censorship or even to argue that all negatively focused media is wrong, there is a right to expression after all and, yes, much of it can be entertaining and desirable. Perhaps it is instead time for us to take more responsibility over what those in power send to our children and so rather than “fighting the power” it is time for “righting the power” by arguing that there should be more important things to them than making dollars. Like day and night or yin and yang there needs to be balance, and while the media seems to hold such power should we not try to work with them to help create this equilibrium?

Tom ‘Slim’ Clover (Managing Editor – Grind Mode Media LLC) – WWW.GRINDMODECONNECT.COM   & WWW.GRINDMODEPRESS.COM

 
 
 

   
PAY NOTHING - GET NOTHING
In these times of MP3 downloads and peer-to-peer file sharing the ease with which fans can get free music has been increased massively. Sending music to friends and acquaintances has become a regular occurrence; however there is a payback that many people don’t consider.

While everyone likes to get something for free, somewhere down the line somebody has to pay. If an artist goes into a studio, hires a producer, and an engineer it all costs money. Then there is the marketing and promotion of the track – not to mention the cost of pressing and distributing any hard copies.

All of these costs need to be met. Whether the record label covers them or, more commonly, from a budget that is passed onto the artists themselves the fact remains that monies need to be recouped.

You may argue that labels like Universal have deep pockets and can afford to take a loss here and there. This is true, but the music industry is a business. And business is all about money. Without the money there is no business. Without the business there is no music – or at least not on the level it is produced and distributed at now. Further to this, if an artist doesn’t get paid for their work they will be pushed to leave the game and do something else for a living, which leaves the consumer as the loser too.

If your favorite artist cannot make a living in the music game then they will be forced to leave it behind. This means you won’t be able to enjoy the fruits of their talents.    In the end everyone loses.

I can’t tell you not to get free music, but remember, each time you cop that new tune for nothing someone has to pay down the line. The bottom line is, you must support the game with your money or you run the risk of losing the entertainment that you love.

Tom ‘Slim’ Clover (Managing Editor – Grind Mode Media LLC) – WWW.GRINDMODECONNECT.COM   & WWW.GRINDMODEPRESS.COM
 
 
   
 

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