the new source for real hip-hop >> by simon remark >> *spark-online issue twelve

Gone are the days of Shell-Toe Adidaz and Puma sweats...hip-hop is on some new shit; it has relocated and redefined itself, moving from street corners to multi-million dollar corporations, complete with a new look and attitude.

Let's reminisce. Remember the Wild Style logo, that fresh, old school graffiti art? Well, albums sporting graf for cover art ain't gonna leave the shelf at your local record store these days. So here's a recipe for success in pushing product, check this out, you've got to plaster your album cover with corny computer graphics of fat cars, dollar signs, diamonds and other material objects, and, oh yeah, don't forget the two busty women (un)dressed in bathing suits and high-heels. And here's some advice for all you ambitious emcees: when y'all write, don't put any thought into your lyrics, just write about what everyone else is writing about, be it sex, money, designer clothes, whatever. Just make sure it sounds like either Jay Z or one of The Hot Boys --guaranteed instant success.

Hip-hop, excuse me, hip-pop is all about sameness. You've got to follow whatever's hot to experience any kind of success, well, economic success anyway. This goes for hip-pop publications as well, most of which have been religiously following trends. Just about every hip-hop magazine follows the aforementioned formula for success to a “T”. The most popular of the bunch, The Source: The Magazine of Hip-Hop Music, Culture & Politics , has been exemplary.

Perhaps The Source should change their title to accurately explain what they are actually about. A better title might be--The Source: The Magazine of Advertisements, Pop Music and Sex .

The Source began as a monthly one-page newsletter; for hip-hop fans it was a source of information on rap artists and hip-hop culture. As hip-hop expanded, The Source expanded, quickly making the transition from newsletter to magazine. Gracing the covers of early issues were innovative, uplifting groups like De La Soul, Public Enemy and Boogie Down Productions . However, as hip-hop became more commercial The Source became more commercial. Now groups like De La Soul, who refuse to sacrifice artistic integrity to sell records, are rarely written about and will probably never again be seen on the cover. The cover and feature articles are reserved for pop--although The Source refers to them as hip-hop--artists like Jay Z and Nas, who are more concerned with money than music.

The Source, like Jay Z and Nas, has figured out how to make millions. When Jay Z and Nas first began their careers they were considered to be two of hip-hop's preeminent emcees, showing abundant talent. But when each experienced poor record sales for critically acclaimed debut albums they changed their images; Nas evolved from the lyrical Nasty Nas to the lyric-less Nastradamus, while the witty Jay Z became the simple minded, one-dimensional Jigga. Both transformed from prophetic to pathetic. Their insightful lyrics about inner-city life were discarded for lyrics about “money, clothes and hoes.” And videos that captured the emotions of their real lyrics were scrapped in an effort to master the sameness that plagues hip-hop; each enlisted Hype Williams, the epitome of sameness, to direct videos full of fast, flashy images and near-naked female dancers.

The Source followed this formula for economic success, scrapping artists who embody the spirit of hip-hop for artists that will help with sales and circulation. For example, when The Roots, hip-hop's most talented live band, released their third album, Illadelph Halflife, they were not featured in The Source. Instead, pop-rapper Da Brat was given the cover story, even though she had not released an album. Luckily, other magazines, less concerned with money and more concerned with talent, did feature The Roots, immortalizing the band on their covers.

The Source is also infamous for their biased record reviews. They give albums mic ratings from one to five; one mic equals a “totally wack” album, while five mics deems an album a “hip-hop classic.” Underground groups rarely receive high mic ratings; high mic ratings are reserved for platinum artists. For example, underground favorites Lootpack and Aceyalone both received two-and-a-half mics for their musically and lyrically luminary releases Soundpieces: Da Antidote and A Book of Human Language, while Nas was given four-and-a-half mics for his ashen album I Am. Also, Jeru the Damaja's conceptual sophomore release, Wrath of the Math, was given three mics, while the so-called sexy, liberated (read: trashy) female artists Foxy Brown and Lil' Kim were given three-and-a-half mics in the same issue for albums that poorly covered one obsession: sex. These injustices reflect The Source's main objectives: circulation, money and more money. Sadly, sex sells.

The Source is not a magazine of hip-hop music, culture or politics. Hip-hop isn't about money, material objects and sex--it's about creative expression, innovation, originality and having fun. Because The Source and other commercial media present distorted images of hip-hop, many people will never witness hip-hop's brilliance. Unfortunately, many talented underground artists and groups will continue to go unnoticed due to a lack of exposure, groups like Jurassic 5, Company Flow and Swollen Members. These groups will continue to rely on word-of-mouth, community radio and the Internet, as their chances of getting mainstream exposure are slim.

Luckily, more hip-hoppers are looking to the Internet for their hip-hop fix instead of magazines like The Source. The focus of most Internet sites is underground hip-hop as opposed to mainstream rap. A resurgence of pure hip-hop has occurred over the past two or so years, partly due to Internet sites and On-line mags like Hip-HopSite.com and SOHH. So, if you're looking for the latest by your favorite underground crew, look to one of the many Internet sites dedicated to the real ish. The Internet is the new Source for real hip-hop.

Simon is currently finishing a psychology degree at Trinity Western University. He is also the assistant editor for Hip-Hop Newswire, a Los Angeles hip-hop publication. He originally started out writing music reviews but now concentrates on essays and editorials.

Contact Simon at: simon_remark@hotmail.com