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This programme contains very strong language and contains scenes which some viewers may find upsetting. | 0:00:02 | 0:00:09 | |
# Uh | 0:00:09 | 0:00:10 | |
# Uh, one, two, one, two | 0:00:10 | 0:00:12 | |
# Uh | 0:00:12 | 0:00:13 | |
-# Uh -All my dogs | 0:00:13 | 0:00:15 | |
# It's bigger than hip-hop, hip-hop... # | 0:00:15 | 0:00:16 | |
'I love hip-hop. I love everything it stands for.' | 0:00:16 | 0:00:20 | |
I love its art, its beauty, power. | 0:00:20 | 0:00:23 | |
And I love its ability to transform people's lives, people like me. | 0:00:23 | 0:00:27 | |
'Hip-hop has given me the tools to see the world in new ways and a | 0:00:28 | 0:00:33 | |
'powerful language to express it, | 0:00:33 | 0:00:35 | |
'but I know that from the outside, some people see the culture | 0:00:35 | 0:00:38 | |
'I represent as shallow, brash and even violent.' | 0:00:38 | 0:00:42 | |
But I think they couldn't be more wrong. | 0:00:42 | 0:00:45 | |
'The hip-hop I know gives a voice to the voiceless. | 0:00:45 | 0:00:48 | |
'It's a place where the disenfranchised feel heard | 0:00:48 | 0:00:51 | |
'and stories that you may not hear in the mainstream' | 0:00:51 | 0:00:54 | |
can be voiced and shouted and roared! | 0:00:54 | 0:00:58 | |
'I want to show you what the world looks like when it is seen through | 0:00:59 | 0:01:02 | |
'the lens of hip-hop. | 0:01:02 | 0:01:04 | |
'And I'm going on a journey to meet some of the stars and key | 0:01:05 | 0:01:08 | |
'players who have helped shape that view. | 0:01:08 | 0:01:11 | |
'My Hip Hop World News talks about issues that matter to me.' | 0:01:11 | 0:01:15 | |
MUFFLED SHOUTS Whether it be police brutality... | 0:01:15 | 0:01:17 | |
It's been happening to black people in America for 400 years. | 0:01:17 | 0:01:20 | |
..or the latest conspiracy theory... | 0:01:20 | 0:01:22 | |
Things like the prison industrial complex, | 0:01:22 | 0:01:25 | |
it's not even a conspiracy theory! | 0:01:25 | 0:01:27 | |
It's our reality. | 0:01:27 | 0:01:28 | |
'I want to show how hip-hop empowers and educates...' | 0:01:29 | 0:01:33 | |
Rappers and MCs, I think, had this sense that they were teachers, | 0:01:33 | 0:01:37 | |
you know? That they were schoolin' you. | 0:01:37 | 0:01:39 | |
..how it celebrates the things we all aspire to | 0:01:39 | 0:01:42 | |
and now wields influence at the very highest levels. | 0:01:42 | 0:01:46 | |
When you look at the ascension of Barack Obama, there were | 0:01:46 | 0:01:49 | |
elements of hip-hop that helped to get him elected, for sure. | 0:01:49 | 0:01:52 | |
-BELL RINGS -# Oh, my gosh | 0:01:52 | 0:01:54 | |
# Look at her butt... # | 0:01:54 | 0:01:55 | |
The Hip Hop World News covers difficult issues too, | 0:01:55 | 0:01:58 | |
like the treatment of women... | 0:01:58 | 0:02:00 | |
-LAUGHS: -It's misogynistic as hell. | 0:02:00 | 0:02:02 | |
..using images and language that even I find challenging. | 0:02:02 | 0:02:06 | |
It's like there's some board somewhere, that's like, | 0:02:06 | 0:02:09 | |
you know, "No hip-hop song can be released | 0:02:09 | 0:02:11 | |
"unless there is at least 3.5 'niggas' in that song." | 0:02:11 | 0:02:14 | |
'Above all else, The Hip Hop World News shows how | 0:02:14 | 0:02:18 | |
'and why for people like me, this culture isn't just the soundtrack | 0:02:18 | 0:02:22 | |
'to our lives. | 0:02:22 | 0:02:23 | |
'It has changed them forever.' | 0:02:23 | 0:02:25 | |
Where I'm from, at 16 years old, | 0:02:25 | 0:02:27 | |
you're supposed to be on drugs, in jail or dead. | 0:02:27 | 0:02:31 | |
So, if you are prepared to embrace a hip-hop state of mind, | 0:02:31 | 0:02:34 | |
or maybe adjust your goggles a little bit to hip-hop vision... | 0:02:34 | 0:02:38 | |
'you might just discover there's a whole new reality out there | 0:02:38 | 0:02:40 | |
'waiting for you.' | 0:02:40 | 0:02:42 | |
And once you've seen the world from this perspective, | 0:02:42 | 0:02:45 | |
you may never want to go back to your own reality. | 0:02:45 | 0:02:48 | |
This is The Hip Hop World News. | 0:02:48 | 0:02:51 | |
# Hip-hop, hip It's bigger than hip-hop, | 0:02:51 | 0:02:54 | |
# Hip-hop...# | 0:02:54 | 0:02:56 | |
# We was on 46... # | 0:02:57 | 0:02:59 | |
Cold rockin', innit? | 0:02:59 | 0:03:01 | |
-TV: -# Spoke a few words they was on our dicks | 0:03:01 | 0:03:04 | |
# London Posse, we don't choke... # | 0:03:04 | 0:03:07 | |
Wow, I find that... I'm looking at that, | 0:03:07 | 0:03:08 | |
I'm finding that hard to imagine that's me. Look at how sweaty I am! | 0:03:08 | 0:03:12 | |
16 years old, I had more facial hair and I was a couple stone heavier | 0:03:12 | 0:03:16 | |
than I am now. | 0:03:16 | 0:03:17 | |
You all look so young! | 0:03:17 | 0:03:19 | |
'My name is Rodney P and I'm an MC. | 0:03:19 | 0:03:22 | |
'And as a rapper, I've been part of the game since the early days | 0:03:22 | 0:03:25 | |
'of hip-hop culture.' | 0:03:25 | 0:03:27 | |
'It was in the early '80s that we first heard these American | 0:03:27 | 0:03:30 | |
'kids talking about their lives and decided we would do the same.' | 0:03:30 | 0:03:34 | |
And I've been doing it ever since. | 0:03:35 | 0:03:37 | |
Hip-hop started out as party music, | 0:03:39 | 0:03:41 | |
but it has always operated on two levels - making people dance | 0:03:41 | 0:03:45 | |
while carrying messages, ideas and news. | 0:03:45 | 0:03:48 | |
Chuck D of Public Enemy once said that hip-hop was the CNN of | 0:03:48 | 0:03:52 | |
the streets and there is one story that | 0:03:52 | 0:03:55 | |
has always been the lead item of our news... | 0:03:55 | 0:03:57 | |
# Whoop-whoop, that's the sound of the police | 0:03:57 | 0:03:59 | |
# Whoop-whoop, that's the sounds of the beast... # | 0:03:59 | 0:04:01 | |
For most people, the police are seen as a force for good. | 0:04:01 | 0:04:04 | |
They are there to protect people and property, and serve the community. | 0:04:04 | 0:04:08 | |
But when you look at the police through the lens of hip-hop, | 0:04:08 | 0:04:11 | |
it's a very different picture. | 0:04:11 | 0:04:13 | |
Hip-hop comes from a place where the police are seen as... | 0:04:13 | 0:04:16 | |
well, the enemy. | 0:04:16 | 0:04:17 | |
# Overseers, overseers overseers, overseers | 0:04:17 | 0:04:20 | |
# Officer, officer officer, officer, officer | 0:04:20 | 0:04:22 | |
# Whoop-whoop, that's the sound of the police. # | 0:04:22 | 0:04:24 | |
Hip-hop has been talking about police brutality for decades. | 0:04:24 | 0:04:29 | |
In 1988, an unknown group called NWA took the conversation to | 0:04:29 | 0:04:34 | |
a whole new level with a track that changed the game. | 0:04:34 | 0:04:37 | |
# Fuck the police | 0:04:37 | 0:04:39 | |
# Fuck-fuck Fuck the police | 0:04:39 | 0:04:41 | |
# Fuck-fuck Fuck the police | 0:04:41 | 0:04:43 | |
# Fuck-fuck Fuck the police... # | 0:04:43 | 0:04:46 | |
First time I heard Fuck Tha Police, | 0:04:52 | 0:04:55 | |
the first thought in my head was, "Is this allowed?" | 0:04:55 | 0:04:59 | |
# For a punk motherfucker with a badge and a gun | 0:04:59 | 0:05:01 | |
# To be beatin' on... # | 0:05:01 | 0:05:02 | |
It was revolutionary. | 0:05:02 | 0:05:04 | |
We were shocked. | 0:05:05 | 0:05:06 | |
We were shocked that someone, | 0:05:06 | 0:05:09 | |
young people, young black men, | 0:05:09 | 0:05:11 | |
were actually expressing publicly, loudly, what we felt. | 0:05:11 | 0:05:16 | |
# You'd rather see me in the pen | 0:05:16 | 0:05:18 | |
# Than me and Lorenzo rollin' in a Benz-o... # | 0:05:18 | 0:05:20 | |
The way NWA did it was brand-new. | 0:05:20 | 0:05:23 | |
They spoke about the police the way that people speak about | 0:05:23 | 0:05:26 | |
the police in the barbershop, on the road, on the street corners. | 0:05:26 | 0:05:30 | |
Yeah, fuck you. Fuck you. Fuck you for handling me a certain way. | 0:05:30 | 0:05:34 | |
Fuck you for treating me a certain way, | 0:05:34 | 0:05:36 | |
talking to me a certain way. | 0:05:36 | 0:05:37 | |
Fuck you for actually making me feel like I can't come to you. | 0:05:37 | 0:05:41 | |
# Eazy is his name and the boy is comin' | 0:05:41 | 0:05:42 | |
# Straight outta Compton | 0:05:42 | 0:05:44 | |
# Is a brother that'll smother your mother | 0:05:44 | 0:05:46 | |
# And make your sister think I love her. # | 0:05:46 | 0:05:48 | |
They were just so mad aggressive and full of expletives and cussing | 0:05:48 | 0:05:52 | |
and the N-word and F this | 0:05:52 | 0:05:53 | |
and shoot this and kill this. | 0:05:53 | 0:05:55 | |
I'm like, "Wow! These guys are really mad about something." | 0:05:55 | 0:05:58 | |
# ..Creep a while | 0:05:58 | 0:06:00 | |
# And when I see a punk pass, I smile... # | 0:06:00 | 0:06:02 | |
And on the one hand, your snobby, purist instinct is like, | 0:06:03 | 0:06:06 | |
"These dudes with Jheri curls... They can't rap." | 0:06:06 | 0:06:10 | |
And on the other hand, there's such a... | 0:06:10 | 0:06:14 | |
intrinsic, like, power to what they are saying. | 0:06:14 | 0:06:18 | |
The language that they used to describe how they felt about | 0:06:27 | 0:06:30 | |
police was the language a kid like me could absolutely relate to. | 0:06:30 | 0:06:34 | |
Now, I was growing up in South London, I didn't have a gun | 0:06:34 | 0:06:36 | |
or have any intentions of shooting at any policemen or... | 0:06:36 | 0:06:39 | |
I hadn't even actually had that much personal contact with police. | 0:06:39 | 0:06:44 | |
But my history and my lifestyle meant that | 0:06:44 | 0:06:48 | |
these were the stories that I had grown up listening to. | 0:06:48 | 0:06:51 | |
I remember Dale Earnhardt Junior, | 0:06:51 | 0:06:54 | |
who's a great NASCAR driver, right? | 0:06:54 | 0:06:58 | |
And he said that it was in Fuck Tha Police, | 0:06:58 | 0:07:02 | |
hearing that song, that he realised that some people in America | 0:07:02 | 0:07:06 | |
have a difficult relationship with the police, that he didn't know. | 0:07:06 | 0:07:09 | |
He lived in a rural community where he would drive | 0:07:09 | 0:07:12 | |
and there would be a cop and he'd be like, | 0:07:12 | 0:07:14 | |
"Hey, Terry, how you doing?" You know. | 0:07:14 | 0:07:16 | |
"Cos I know Terry, cos he's a nice guy. He's been a cop in this area | 0:07:16 | 0:07:20 | |
"for 20 years, along with, you know, Jim and Bob and whoever | 0:07:20 | 0:07:23 | |
"and it's all good." | 0:07:23 | 0:07:25 | |
You know, you come up to the big city and things are a lot different. | 0:07:25 | 0:07:28 | |
We don't know them, they don't know us, you know? | 0:07:28 | 0:07:31 | |
And it gets pretty dramatic at times. But he did know that. | 0:07:31 | 0:07:34 | |
We've got kids in the hood in Baltimore, in Chicago, in Philly, | 0:07:34 | 0:07:37 | |
they look at the police the same way the little Iraqi kids look at | 0:07:37 | 0:07:41 | |
the American soldiers. | 0:07:41 | 0:07:42 | |
It's an outside force occupying a community. | 0:07:42 | 0:07:46 | |
You ain't saving no streets, you ain't saving nothin'! | 0:07:46 | 0:07:49 | |
F Tha Police, by itself, by itself, you know, | 0:07:49 | 0:07:53 | |
is challenging the power structure. | 0:07:53 | 0:07:55 | |
It's challenging racism in this country. | 0:07:55 | 0:07:57 | |
It's challenging the reckless disregard for our lives | 0:07:57 | 0:08:00 | |
by police forces. | 0:08:00 | 0:08:02 | |
NWA took our everyday reality of police brutality | 0:08:02 | 0:08:06 | |
out of the hood and into the charts. | 0:08:06 | 0:08:08 | |
Their debut album, Straight Outta Compton, | 0:08:08 | 0:08:09 | |
sold three million copies | 0:08:09 | 0:08:11 | |
and introduced the world to so-called gangsta rap. | 0:08:11 | 0:08:14 | |
Now they consider it to be gangsta rap. | 0:08:14 | 0:08:17 | |
I never considered it at the time. | 0:08:17 | 0:08:19 | |
As extreme as it was, it was still real. It felt real. | 0:08:19 | 0:08:23 | |
The dysfunctional behaviour of the police towards black | 0:08:23 | 0:08:26 | |
Americans continues to resonate when Philando Castile was | 0:08:26 | 0:08:30 | |
shot dead by the police of Minnesota during a traffic stop. | 0:08:30 | 0:08:33 | |
Shocking footage of the event was live-streamed on Facebook | 0:08:33 | 0:08:36 | |
as it happened. | 0:08:36 | 0:08:37 | |
I will, sir. No worries. I will. | 0:08:37 | 0:08:39 | |
-COP: -Fuck! | 0:08:39 | 0:08:40 | |
He just shot his arm off. | 0:08:40 | 0:08:43 | |
-We got pulled over on... -I told him not to reach for it. | 0:08:43 | 0:08:46 | |
I told him to get his hand off it! | 0:08:46 | 0:08:48 | |
You told him to get his ID, sir. | 0:08:48 | 0:08:50 | |
His driver's licence. | 0:08:50 | 0:08:52 | |
Now we have iPhones, now we have documentation | 0:08:52 | 0:08:54 | |
and they're like, "Oh, my God, how's that happening?" | 0:08:54 | 0:08:56 | |
It's been happening to black people in America for 400 years. | 0:08:56 | 0:09:00 | |
The abuse of people of colour is an American phenomenon. | 0:09:00 | 0:09:04 | |
-ERIC GARNER: -A fight break out, I stop it, so you can run up on me? | 0:09:04 | 0:09:06 | |
-That's all right... -The people that's fighting, | 0:09:06 | 0:09:08 | |
you just let 'em walk away?! Are you serious? | 0:09:08 | 0:09:11 | |
How many years have we been talking about police brutality and | 0:09:11 | 0:09:16 | |
the media is like, "Fuck you guys. You guys are savages, we are not | 0:09:16 | 0:09:18 | |
"going to pay attention to you, until it's media worthy." | 0:09:18 | 0:09:23 | |
-ERIC: -Do not touch me. -INDISTINCT SPEECH | 0:09:23 | 0:09:27 | |
Let him go! He ain't do nothing. | 0:09:27 | 0:09:29 | |
We are very upset with the situation | 0:09:31 | 0:09:33 | |
that's been going on in our neighbourhoods. | 0:09:33 | 0:09:34 | |
We are upset with, you know, | 0:09:34 | 0:09:36 | |
the way we've been treated. | 0:09:36 | 0:09:37 | |
I mean, you don't even have to just rattle off names like Eric Garner, | 0:09:37 | 0:09:40 | |
Trayvon Martin, Sandra Bland, you know, Mike Brown, | 0:09:40 | 0:09:43 | |
the list goes on and on. | 0:09:43 | 0:09:44 | |
You know, it's heartbreaking to feel helpless in a society that you live. | 0:09:44 | 0:09:49 | |
I respect the law enforcement officers very greatly. | 0:09:49 | 0:09:51 | |
I have a problem with the way that they have been... | 0:09:51 | 0:09:55 | |
in the black community. | 0:09:55 | 0:09:56 | |
-ERIC GARNER: -I can't breathe. I can't breathe. I can't breathe. | 0:09:56 | 0:09:59 | |
I can't breathe. I can't breathe. | 0:09:59 | 0:10:03 | |
# Nigga, when our pride was low | 0:10:04 | 0:10:06 | |
# Looking at the world like, "Where do we go?" | 0:10:06 | 0:10:09 | |
# Nigga! And we hate popo | 0:10:09 | 0:10:11 | |
# Wanna kill us dead in the street for sure | 0:10:11 | 0:10:13 | |
# Nigga, I'm at the preacher's door | 0:10:13 | 0:10:15 | |
# My knees gettin' weak and my gun might blow | 0:10:15 | 0:10:17 | |
# But we gon' be alright Nigga, we gon' be alright... # | 0:10:17 | 0:10:20 | |
Even now, more than a quarter of a century | 0:10:20 | 0:10:23 | |
after NWA's ground-breaking track, | 0:10:23 | 0:10:25 | |
the police are still the top item | 0:10:25 | 0:10:27 | |
on the Hip Hop World News. | 0:10:27 | 0:10:29 | |
As this footage shows, Kendrick Lamar's Alright | 0:10:29 | 0:10:31 | |
has been adopted as a rallying cry for the Black Lives Matter movement. | 0:10:31 | 0:10:35 | |
-ALL: -We gonna be alright! We gonna be alright! | 0:10:35 | 0:10:39 | |
Coming from a place where experience shows | 0:10:39 | 0:10:41 | |
that the authorities may well kill you, | 0:10:41 | 0:10:43 | |
it's not surprising that hip-hop culture is sceptical | 0:10:43 | 0:10:46 | |
about the official story | 0:10:46 | 0:10:47 | |
and receptive to alternative explanations | 0:10:47 | 0:10:50 | |
of, "What's really going on?" | 0:10:50 | 0:10:52 | |
# I really think the war on terror is a bunch of bullshit | 0:10:52 | 0:10:55 | |
# Just a poor excuse for you to use up all your bullets | 0:10:55 | 0:10:58 | |
# How much money does it take to really make a full clip? | 0:10:58 | 0:11:01 | |
# 9/11, Building 7, did they really pull it? # | 0:11:01 | 0:11:04 | |
Seen from the outside, | 0:11:04 | 0:11:05 | |
the hip-hop mind-set can seem overly suspicious at times, | 0:11:05 | 0:11:08 | |
but it's a bit like the old joke - | 0:11:08 | 0:11:10 | |
"Just cos you're paranoid | 0:11:10 | 0:11:12 | |
"doesn't mean they're not out to get you." | 0:11:12 | 0:11:13 | |
# In the first place That's on the up and up... # | 0:11:13 | 0:11:15 | |
Hip-hop taught me to look for the extra narrative in anything. | 0:11:15 | 0:11:21 | |
So, when I look at the news, I look for the extra narrative. | 0:11:21 | 0:11:23 | |
I look for what I'm not being told as well as what I am being told. | 0:11:23 | 0:11:27 | |
# And that ain't Jersey Shore | 0:11:27 | 0:11:29 | |
# Homey, that's the news | 0:11:29 | 0:11:31 | |
# And these the same people supposed to be telling us the truth... # | 0:11:31 | 0:11:33 | |
If you listen to a lot of hip-hop, | 0:11:33 | 0:11:36 | |
and you're not fully understanding institutional racism, then, yeah, | 0:11:36 | 0:11:40 | |
a lot of the things that they talk about | 0:11:40 | 0:11:43 | |
may seem like conspiracies. | 0:11:43 | 0:11:46 | |
"The police are out to get us," "The schools are out to get us," | 0:11:46 | 0:11:49 | |
"The Government is out to get us." | 0:11:49 | 0:11:51 | |
"Oh, my God, these guys think everyone is out to get them." | 0:11:51 | 0:11:54 | |
Well, actually, yeah. | 0:11:54 | 0:11:56 | |
They live in a matrix of institutional racism | 0:11:56 | 0:11:59 | |
that is constructed to keep them | 0:11:59 | 0:12:02 | |
at a low level of having no status in America. | 0:12:02 | 0:12:06 | |
It's not like these theories come from hip-hop. | 0:12:06 | 0:12:08 | |
It's just that hip-hop in general, | 0:12:08 | 0:12:10 | |
hip-hop teaches people to be more open-minded anyway. | 0:12:10 | 0:12:13 | |
I wouldn't say that hip-hop loves conspiracy. | 0:12:13 | 0:12:15 | |
I would say that in a lot of ways, | 0:12:15 | 0:12:17 | |
the truth has been deemed conspiracy. | 0:12:17 | 0:12:19 | |
You know, ten years ago I was telling people, you know, | 0:12:19 | 0:12:23 | |
I think that the Government is tapping our e-mails | 0:12:23 | 0:12:26 | |
and I think they're keeping a registry of that. | 0:12:26 | 0:12:28 | |
And people were like, "That's paranoia. | 0:12:28 | 0:12:31 | |
"That's conspiracy. You're crazy." | 0:12:31 | 0:12:34 | |
Edward Snowden comes out, | 0:12:34 | 0:12:36 | |
and now what was conspiracy is documented fact. | 0:12:36 | 0:12:39 | |
Hip-hop often provides a platform for theories | 0:12:39 | 0:12:42 | |
before they become generally accepted. | 0:12:42 | 0:12:44 | |
One idea now finding more traction outside of hip-hop | 0:12:44 | 0:12:47 | |
explains why black people represent less than one in eight | 0:12:47 | 0:12:50 | |
of the American population, but nearly 40% of its prisons. | 0:12:50 | 0:12:53 | |
# Hip-Hop past all your tall social hurdles | 0:12:53 | 0:12:55 | |
# Like the nationwide projects, prison-industry complex... # | 0:12:55 | 0:12:57 | |
There's conspiracies and then there are things | 0:12:57 | 0:13:00 | |
that have a paper trail, have a history - | 0:13:00 | 0:13:02 | |
things like the prison industrial complex. | 0:13:02 | 0:13:05 | |
The prison industrial complex really is this interconnected web | 0:13:05 | 0:13:10 | |
of entities that profits from mass incarceration. | 0:13:10 | 0:13:15 | |
Right, there are more people in jail in the United States | 0:13:15 | 0:13:19 | |
than during the gulag in USSR, | 0:13:19 | 0:13:22 | |
during apartheid in South Africa combined. | 0:13:22 | 0:13:25 | |
You've got Fortune 500 companies using prison labour, right, | 0:13:25 | 0:13:29 | |
and they're basically paying prisoners nothing | 0:13:29 | 0:13:31 | |
and they're able to say that these products are made in the USA. | 0:13:31 | 0:13:34 | |
The reason why they can do this, right, | 0:13:34 | 0:13:36 | |
is because the 13th Amendment says, | 0:13:36 | 0:13:38 | |
"Slavery is illegal, except in the form of punishment," | 0:13:38 | 0:13:43 | |
so if someone is being punished, they can essentially be a slave | 0:13:43 | 0:13:47 | |
but you don't have to pay them minimum wage. | 0:13:47 | 0:13:49 | |
So, you got prisoners making 12 cents an hour. | 0:13:49 | 0:13:51 | |
So, it's all these new ways, and it's kind of like colonialism, | 0:13:51 | 0:13:55 | |
then you have neo-colonialism. | 0:13:55 | 0:13:56 | |
It's a new way to kind of achieve the same result, right? | 0:13:56 | 0:14:00 | |
How do we still take the bulk of the young, black talent - | 0:14:00 | 0:14:06 | |
males, women - and incarcerate them, essentially, and enslave them? | 0:14:06 | 0:14:09 | |
So, conspiracy theory? It's not even a conspiracy theory. | 0:14:22 | 0:14:26 | |
It's all reality. It's a luxury to have a conspiracy theory. | 0:14:26 | 0:14:31 | |
HE LAUGHS | 0:14:31 | 0:14:33 | |
Before we go any further, | 0:14:35 | 0:14:37 | |
I just need to make one thing very clear. | 0:14:37 | 0:14:40 | |
Hip-hop is much more than just a style of music. | 0:14:40 | 0:14:43 | |
There are five elements to this culture. | 0:14:43 | 0:14:45 | |
DJ-ing, | 0:14:45 | 0:14:48 | |
MC-ing, | 0:14:48 | 0:14:50 | |
graffiti art, break dancing, | 0:14:50 | 0:14:53 | |
and the fifth element that often is forgotten, knowledge. | 0:14:53 | 0:14:57 | |
So, if you're going to look at the world | 0:14:57 | 0:14:59 | |
through the lens of hip-hop, you have to take in all of this. | 0:14:59 | 0:15:03 | |
Not just rap music, but the entire culture. | 0:15:03 | 0:15:06 | |
Rappers, people like me, we're the front men, | 0:15:10 | 0:15:14 | |
and we tend to get all the attention. | 0:15:14 | 0:15:16 | |
But the engine of hip-hop is the DJ, | 0:15:16 | 0:15:19 | |
and I'm going to meet one of the most important. | 0:15:19 | 0:15:22 | |
In hip-hop, DJ skills are essential. | 0:15:26 | 0:15:29 | |
It's using the turntables as an instrument. | 0:15:29 | 0:15:32 | |
There's no guitars. There's not a drummer. | 0:15:32 | 0:15:35 | |
There's not a guy on the keyboard. | 0:15:35 | 0:15:37 | |
There's a DJ and he's got two turntables | 0:15:37 | 0:15:40 | |
and a mixer with a mic plugged into it, | 0:15:40 | 0:15:42 | |
and from there, everything stems. | 0:15:42 | 0:15:45 | |
Primo! | 0:15:45 | 0:15:46 | |
DJ Premier is one of the most highly regarded DJs in the world. | 0:15:49 | 0:15:53 | |
As well as being half of the '90s hip-hop group Gang Starr, | 0:15:53 | 0:15:56 | |
he's also produced tracks for everyone from Jay-Z and Kanye West | 0:15:56 | 0:15:59 | |
to Snoop Dogg, but it all comes from humble beginnings. | 0:15:59 | 0:16:02 | |
When I was a kid, | 0:16:02 | 0:16:03 | |
we used to go to all the local spots where I lived in Texas, | 0:16:03 | 0:16:06 | |
and they had a jukebox and I'd watch the machine | 0:16:06 | 0:16:09 | |
look for the record and the record would drop. | 0:16:09 | 0:16:11 | |
So, I thought it was like a toy. | 0:16:11 | 0:16:13 | |
So, that's what got you into DJ-ing, the technology of it? | 0:16:13 | 0:16:16 | |
Absolutely. | 0:16:16 | 0:16:17 | |
And when it spins, as a kid, | 0:16:17 | 0:16:19 | |
you're just sitting there, mesmerised. | 0:16:19 | 0:16:21 | |
My mother used to always go, "It's not a toy, it's not a toy." | 0:16:21 | 0:16:24 | |
But for me, it intrigued me | 0:16:24 | 0:16:26 | |
that music came from the source of those toys. | 0:16:26 | 0:16:30 | |
Then I saw the Buffalo Gals video, | 0:16:36 | 0:16:38 | |
Malcolm McLaren and the World's Famous Supreme Team, | 0:16:38 | 0:16:40 | |
and just seeing them cutting the 45, just the era-era-era-ah! | 0:16:40 | 0:16:44 | |
-In the UK, we credit that record... -Really? | 0:16:47 | 0:16:49 | |
..as the record that introduced us | 0:16:49 | 0:16:51 | |
-to hip-hop culture. -Wow, wow. | 0:16:51 | 0:16:53 | |
Now we knew exactly what the culture looked like | 0:16:54 | 0:16:57 | |
in terms of the dancing and how they dressed and how the art looked. | 0:16:57 | 0:17:02 | |
Two turntables and a microphone. | 0:17:02 | 0:17:04 | |
The imagery for that comes from the Buffalo Gals video | 0:17:04 | 0:17:08 | |
with Malcolm McLaren. | 0:17:08 | 0:17:09 | |
It was extraordinary because | 0:17:11 | 0:17:12 | |
the sound coming out was totally inarticulate. | 0:17:12 | 0:17:14 | |
It was a load of rough noises, | 0:17:14 | 0:17:16 | |
noises that sounded a little like guitar | 0:17:16 | 0:17:18 | |
but had a sort of concrete chisel sound, right? | 0:17:18 | 0:17:21 | |
And the sound, I realised, was actually coming from the way | 0:17:21 | 0:17:24 | |
they were messing around with their hands on the decks, | 0:17:24 | 0:17:26 | |
moving records backwards and forwards. | 0:17:26 | 0:17:28 | |
But they weren't just doing it with one record, | 0:17:28 | 0:17:30 | |
they were doing it with two. | 0:17:30 | 0:17:32 | |
They took the part that we like, you know, | 0:17:32 | 0:17:35 | |
because there's always a part of the record | 0:17:35 | 0:17:37 | |
you wish you could play again and again. | 0:17:37 | 0:17:38 | |
And they're catching that same part and extending it, | 0:17:38 | 0:17:42 | |
and I was like, "I got to learn that." | 0:17:42 | 0:17:44 | |
That was a real eye-opener to me. | 0:17:47 | 0:17:49 | |
This English guy who introduced the world to punk rock music | 0:17:49 | 0:17:53 | |
is also the same guy who introduced the world to hip-hop. | 0:17:53 | 0:17:58 | |
That's an incredible story. | 0:17:58 | 0:18:00 | |
No matter what kind of beats I do, it always has a DJ mentality. | 0:18:05 | 0:18:09 | |
I consider myself an artist, producer, | 0:18:09 | 0:18:12 | |
but I always say, for me, DJ-ing is always number one. | 0:18:12 | 0:18:16 | |
The DJ aspect of it is the reason why I'm nice. | 0:18:16 | 0:18:21 | |
After meeting DJ Premier in LA, | 0:18:24 | 0:18:26 | |
I feel like I need to go back to the roots, | 0:18:26 | 0:18:29 | |
to the birthplace of hip-hop. | 0:18:29 | 0:18:30 | |
New York City is a big part of my story in hip-hop. | 0:18:30 | 0:18:33 | |
The name London Posse came from our trip to New York. | 0:18:33 | 0:18:36 | |
We were going on tour with Big Audio Dynamite | 0:18:36 | 0:18:38 | |
and they needed a name for the poster. | 0:18:38 | 0:18:39 | |
So, it was a two-minute phone conversation. | 0:18:39 | 0:18:41 | |
"We're going to press in a minute. We need a name for the poster. | 0:18:41 | 0:18:44 | |
"What's the name of your group?" | 0:18:44 | 0:18:45 | |
"Uh...London Posse." That's how the name came about. | 0:18:45 | 0:18:48 | |
And we are credited with being the first crew | 0:18:48 | 0:18:51 | |
to really rap with genuine UK accents. | 0:18:51 | 0:18:55 | |
A big part of the reason we did that is cos we went to New York | 0:18:55 | 0:18:58 | |
and quickly realised that rapping in fake American accents | 0:18:58 | 0:19:00 | |
is a stupid idea. | 0:19:00 | 0:19:02 | |
So, you know, New York is part of my DNA | 0:19:02 | 0:19:05 | |
in this hip-hop life that I'm living. | 0:19:05 | 0:19:07 | |
Just, we're doing a film about hip-hop. | 0:19:07 | 0:19:09 | |
You can't make a film about hip-hop and not go to New York. | 0:19:09 | 0:19:11 | |
I figure for many people, that's the Mecca, so here we go. | 0:19:11 | 0:19:15 | |
Nah, that can go in my hand luggage. | 0:19:15 | 0:19:17 | |
# New York girls, dem a mad ova wi | 0:19:17 | 0:19:19 | |
# New York girls, dem a mad ova wi | 0:19:19 | 0:19:22 | |
# New York girls, dem a mad ova wi | 0:19:22 | 0:19:24 | |
# New York girls, dem a mad ova wi | 0:19:24 | 0:19:27 | |
# Nas the don, Nas the don, Nas the don, Nas the don | 0:19:27 | 0:19:30 | |
# Nas the don, Nas the don, | 0:19:30 | 0:19:32 | |
# Nas the don inna New York City... # | 0:19:32 | 0:19:33 | |
To understand hip-hop, | 0:19:33 | 0:19:35 | |
you have to understand the Civil Rights Movement. | 0:19:35 | 0:19:37 | |
Dr King was killed in 1968. | 0:19:37 | 0:19:39 | |
Well, a year before, | 0:19:39 | 0:19:40 | |
someone named Clive Campbell came from Jamaica | 0:19:40 | 0:19:43 | |
in the West Indies to New York to the Bronx - | 0:19:43 | 0:19:45 | |
Kool Herc, one of the founding fathers of hip-hop. | 0:19:45 | 0:19:48 | |
Dr King was talking about | 0:19:48 | 0:19:49 | |
a poor people's campaign at the end of his life. | 0:19:49 | 0:19:51 | |
Who created hip-hop? | 0:19:51 | 0:19:52 | |
Poor African-Americans, poor West Indians, | 0:19:52 | 0:19:54 | |
poor Latinos in a place called the Bronx, New York. | 0:19:54 | 0:19:58 | |
And so, in a lot of ways, hip-hop was a response | 0:19:58 | 0:20:00 | |
to the failures of the Civil Rights Movement, | 0:20:00 | 0:20:02 | |
people moving away from what Dr King was urging people to do - | 0:20:02 | 0:20:06 | |
"Pay attention to poverty. We got to deal with poverty." | 0:20:06 | 0:20:09 | |
And so, when you think about hip-hop, | 0:20:09 | 0:20:11 | |
its very essence is a social commentary. | 0:20:11 | 0:20:14 | |
It doesn't matter what the lyrics say. | 0:20:14 | 0:20:16 | |
You've got two turntables and a microphone, | 0:20:16 | 0:20:19 | |
some spray paint and magic markers. | 0:20:19 | 0:20:20 | |
Some sneakers, some cardboard, linoleum. | 0:20:20 | 0:20:23 | |
That's nothing. | 0:20:23 | 0:20:24 | |
These are poor people taking what they had | 0:20:24 | 0:20:27 | |
and creating something out of that. You know what I mean? | 0:20:27 | 0:20:29 | |
So, the very act of doing that is revolutionary. | 0:20:29 | 0:20:33 | |
For me, as a teenager in early '80s Britain, | 0:20:34 | 0:20:37 | |
discovering this amazing new thing called hip-hop culture | 0:20:37 | 0:20:40 | |
was definitely revolutionary. | 0:20:40 | 0:20:42 | |
But a few years earlier, in 1979, | 0:20:42 | 0:20:45 | |
one song truly blew our minds. | 0:20:45 | 0:20:48 | |
-COMMENTATOR: -Here is Wonder Mike, Hank and Master Gee - | 0:20:48 | 0:20:51 | |
The Sugarhill Gang! | 0:20:51 | 0:20:53 | |
# I said a hip hop, the hippie, the hippie | 0:20:53 | 0:20:54 | |
# To the hip, hip hop, and you don't stop | 0:20:54 | 0:20:56 | |
# A rock it... # | 0:20:56 | 0:20:57 | |
'Around 11, 12 years old, I heard Rapper's Delight.' | 0:20:57 | 0:21:00 | |
I heard it and I saw it, it was on Top Of The Pops. | 0:21:00 | 0:21:02 | |
# I'm rappin' to the beat | 0:21:02 | 0:21:04 | |
# And me, the groove... # | 0:21:04 | 0:21:05 | |
And, the next day in school, | 0:21:05 | 0:21:07 | |
that song had changed the playground. | 0:21:07 | 0:21:09 | |
It was all about learning the words to that song. | 0:21:09 | 0:21:11 | |
And, if you knew the words to the whole 13-minute version, | 0:21:11 | 0:21:14 | |
you were that guy. | 0:21:14 | 0:21:16 | |
Of course, I knew those words quite quickly. | 0:21:16 | 0:21:18 | |
I learnt and rehearse them often and knew them well. | 0:21:18 | 0:21:21 | |
# Let's rock, you don't stop | 0:21:21 | 0:21:23 | |
# Rock the rhythm that'll make your body rock... # | 0:21:23 | 0:21:26 | |
'Rapper's Delight introduced me, | 0:21:26 | 0:21:28 | |
'and everyone else who didn't live in the Bronx, | 0:21:28 | 0:21:30 | |
'to a brand-new thing called rap. | 0:21:30 | 0:21:32 | |
'Rap turns MCs from people who talked over records at parties | 0:21:32 | 0:21:36 | |
'into pop stars. | 0:21:36 | 0:21:38 | |
'When we talk about the Hip Hop World News, | 0:21:38 | 0:21:40 | |
'the MCs are the anchors who deliver the message, | 0:21:40 | 0:21:43 | |
'and they all came with their own unique presentational style. | 0:21:43 | 0:21:47 | |
'I took inspiration from rappers like Grandmaster Caz | 0:21:47 | 0:21:50 | |
'from the Cold Crush Brothers. | 0:21:50 | 0:21:52 | |
'And Run from Run DMC. | 0:21:54 | 0:21:56 | |
'I like the flow of Just-Ice | 0:21:56 | 0:21:58 | |
'and the lyrical content of Kool G Rap. | 0:21:58 | 0:22:00 | |
'It takes a lot of skill, knowledge and wordplay to be an MC. | 0:22:01 | 0:22:05 | |
'And one of the continual debates hip-hop is... | 0:22:05 | 0:22:08 | |
'who's the greatest?' | 0:22:08 | 0:22:10 | |
HIP-HOP INTRO PLAYS | 0:22:10 | 0:22:11 | |
# To all the ladies in the place | 0:22:16 | 0:22:17 | |
# With style and grace | 0:22:17 | 0:22:18 | |
# Allow me to lace these lyrical duches in your bushes... # | 0:22:18 | 0:22:22 | |
You know what? I think, in terms of lyricism, | 0:22:22 | 0:22:25 | |
I don't think anybody | 0:22:25 | 0:22:27 | |
could beat Biggie. | 0:22:27 | 0:22:29 | |
But, in terms of consistency, total package, | 0:22:29 | 0:22:31 | |
music, lyrics, business, everything, | 0:22:31 | 0:22:34 | |
I'm going to go with Jay-Z. | 0:22:34 | 0:22:35 | |
# You're now tuned into the motherfucking greatest. # | 0:22:35 | 0:22:38 | |
It's talent, it's societal impact... | 0:22:38 | 0:22:42 | |
it's longevity. | 0:22:42 | 0:22:44 | |
So, for me, if I had to say the greatest MC of all time, | 0:22:44 | 0:22:47 | |
I'd have to give it to Jay-Z. | 0:22:47 | 0:22:48 | |
# If you feelin' like a pimp nigga, | 0:22:48 | 0:22:50 | |
# Go and brush your shoulders off | 0:22:50 | 0:22:52 | |
# Ladies is pimps too, gon' brush your shoulders off | 0:22:52 | 0:22:55 | |
# Niggas is crazy, baby... # | 0:22:55 | 0:22:56 | |
Since Reasonable Doubt, | 0:22:56 | 0:22:58 | |
nonstop with hits. | 0:22:58 | 0:23:02 | |
Like, shit that changed the game. | 0:23:02 | 0:23:04 | |
Everything about him just says | 0:23:04 | 0:23:07 | |
the greatest of all time. | 0:23:07 | 0:23:09 | |
# Middle finger to the law, nigga gripping my balls... # | 0:23:09 | 0:23:12 | |
I'll go with Kendrick. | 0:23:12 | 0:23:13 | |
Kendrick is fucking killing it. | 0:23:13 | 0:23:15 | |
# Biatch! | 0:23:15 | 0:23:16 | |
# This your favourite song | 0:23:16 | 0:23:18 | |
# Translation: Ven aqui mami... # | 0:23:18 | 0:23:20 | |
Kendrick has given you great, great albums with diverse concepts, | 0:23:20 | 0:23:24 | |
that tackle them from a perspective that no-one has explored yet | 0:23:24 | 0:23:27 | |
in his own unique way. | 0:23:27 | 0:23:29 | |
And I think it's fucked up people are hating on him | 0:23:29 | 0:23:31 | |
just cos he's newer. | 0:23:31 | 0:23:32 | |
# Let's get it nights like this I'm a knight like this | 0:23:32 | 0:23:33 | |
# Sword in my hand, I fight like this | 0:23:33 | 0:23:35 | |
# I am more than a man, I'm a god | 0:23:35 | 0:23:37 | |
# Bitch, touche, en garde | 0:23:37 | 0:23:38 | |
# Toupee drop and her two tits pop | 0:23:38 | 0:23:40 | |
# Out of that tank top and bra | 0:23:40 | 0:23:41 | |
# And when I say, "Doo Doo Doo Doo!" | 0:23:41 | 0:23:43 | |
# Bitch, that be K. Dot... # | 0:23:43 | 0:23:44 | |
The greatest MC of all time, for me... | 0:23:44 | 0:23:46 | |
..for me, I'd say Rakim. | 0:23:48 | 0:23:50 | |
You know, I would say Rakim. | 0:23:50 | 0:23:52 | |
For me, it's Rakim. | 0:23:52 | 0:23:53 | |
# Rakim...# | 0:23:53 | 0:23:55 | |
Rakim is just the greatest rhyme writer, | 0:23:55 | 0:23:59 | |
lyricist in the hip-hop period. | 0:23:59 | 0:24:01 | |
Rakim completely reinvented the way you rapped. | 0:24:20 | 0:24:24 | |
It was so advanced then. | 0:24:24 | 0:24:26 | |
Nobody sounded like him. | 0:24:26 | 0:24:28 | |
Nobody. | 0:24:28 | 0:24:29 | |
# This was a take, I wasn't supposed to break | 0:24:29 | 0:24:31 | |
# I was supposed to wait, but let's motivate | 0:24:31 | 0:24:33 | |
# I wanna see 'em keep followin' and swallowin' | 0:24:33 | 0:24:36 | |
# Takin' the makin', bitin' and borrowin'... # | 0:24:36 | 0:24:38 | |
He's the one who takes us from... | 0:24:38 | 0:24:40 | |
you know, really monosyllabic rhymes to polysyllabic rhymes, | 0:24:40 | 0:24:43 | |
adds internal rhymes. | 0:24:43 | 0:24:45 | |
I mean, he is the beginning of the modern rapper | 0:24:45 | 0:24:50 | |
and the way we rhyme today. | 0:24:50 | 0:24:51 | |
# What could you say as the Earth gets further and further away | 0:24:51 | 0:24:53 | |
# Planets as small as balls of clay... # | 0:24:53 | 0:24:55 | |
Rakim shifted the paradigm, man. | 0:24:55 | 0:24:57 | |
Like, for me, that's my greatest ever. | 0:24:57 | 0:25:00 | |
# And turn around and look | 0:25:00 | 0:25:01 | |
# As you stare into the darkness | 0:25:01 | 0:25:03 | |
# Your knowledge: took! | 0:25:03 | 0:25:04 | |
The attraction of Rakim was his flow, | 0:25:07 | 0:25:09 | |
his lyrical dexterity, his content. | 0:25:09 | 0:25:12 | |
But also what he represented as a man. | 0:25:12 | 0:25:15 | |
He wasn't afraid to be smart. | 0:25:15 | 0:25:17 | |
He wasn't trying to dumb himself down, | 0:25:17 | 0:25:20 | |
or present the image of the street thug. | 0:25:20 | 0:25:24 | |
But, lyrically, he touched on those things. | 0:25:24 | 0:25:27 | |
But that's not what he wanted to bring to the table. | 0:25:27 | 0:25:31 | |
He was bringing much more positivity, much more empowerment | 0:25:31 | 0:25:34 | |
to the table, as well as making some fantastic party music. | 0:25:34 | 0:25:37 | |
That's why he was the greatest. | 0:25:37 | 0:25:39 | |
It's not one thing. It's all of them. | 0:25:39 | 0:25:41 | |
'I'm supposed to be meeting Rakim today. | 0:25:44 | 0:25:46 | |
'The only thing is, he hasn't shown up.' | 0:25:46 | 0:25:49 | |
This is New York City. | 0:25:49 | 0:25:50 | |
We're living on hip-hop time. | 0:25:50 | 0:25:52 | |
MCs like Rakim were more than entertainers. | 0:25:54 | 0:25:57 | |
They were the people who taught us to see the world | 0:25:57 | 0:25:59 | |
from a different perspective. | 0:25:59 | 0:26:01 | |
MUSIC: I Can by Nas | 0:26:01 | 0:26:04 | |
# I know I can | 0:26:04 | 0:26:07 | |
# Be what I wanna be... # | 0:26:07 | 0:26:08 | |
Hip-hop gave us an education. | 0:26:08 | 0:26:09 | |
It opened our eyes to what was really going on around the world. | 0:26:09 | 0:26:14 | |
But hip-hop did more than just tell us what was happening. | 0:26:14 | 0:26:17 | |
It taught us new ideas on how to construct and compose | 0:26:17 | 0:26:19 | |
a language to express them. | 0:26:19 | 0:26:22 | |
# I'll be where I wanna be (I'll be where I wanna be) | 0:26:22 | 0:26:24 | |
# Be, B-Boys and girls, listen up | 0:26:24 | 0:26:26 | |
# You can be anything in the world | 0:26:26 | 0:26:28 | |
# In God we trust | 0:26:28 | 0:26:29 | |
# An architect, doctor, maybe an actress | 0:26:29 | 0:26:31 | |
# But nothing comes easy, it takes much practice... # | 0:26:31 | 0:26:34 | |
The greatest lesson hip-hop ever taught me | 0:26:34 | 0:26:36 | |
absolutely is the power of words. | 0:26:36 | 0:26:39 | |
The complexity that's displayed by some lyricists in hip-hop is really | 0:26:39 | 0:26:43 | |
at the forefront of American writing. | 0:26:43 | 0:26:45 | |
Where's poetry being consumed in the 21st century? | 0:26:45 | 0:26:48 | |
How is it being consumed? | 0:26:48 | 0:26:50 | |
It's in the poetry of Kendrick Lamar, | 0:26:50 | 0:26:52 | |
it's in J. Cole's lyrics. | 0:26:52 | 0:26:53 | |
That's where poetry is being consumed by the masses. | 0:26:53 | 0:26:56 | |
That's when metaphors and double entendres and triple entendres | 0:27:09 | 0:27:12 | |
and similes and all these lyrical devices are being employed. | 0:27:12 | 0:27:16 | |
Hip-hop is as important as Shakespeare. I would even argue | 0:27:16 | 0:27:18 | |
it's probably more important than Shakespeare at this point. | 0:27:18 | 0:27:20 | |
And I love Shakespeare. | 0:27:20 | 0:27:22 | |
-HE RAPS: -# I run laps around the scholars of tomorrow | 0:27:22 | 0:27:24 | |
# Because their new schools of thought | 0:27:24 | 0:27:26 | |
# Are merely our histories borrowed | 0:27:26 | 0:27:27 | |
# And they label me militant | 0:27:27 | 0:27:29 | |
# Black, national, radical | 0:27:29 | 0:27:30 | |
# Yo, they try to put my learning process on sabbatical | 0:27:30 | 0:27:34 | |
# But I don't apologise | 0:27:34 | 0:27:35 | |
# I spit truth into those eyes | 0:27:35 | 0:27:36 | |
# That have been infected by those lies | 0:27:36 | 0:27:38 | |
# Then, they tried to get me to see | 0:27:38 | 0:27:40 | |
# Their point of view from a cat that looked like me | 0:27:40 | 0:27:42 | |
# But he don't walk like me, talk like me or act like me | 0:27:42 | 0:27:44 | |
# And homie started running | 0:27:44 | 0:27:46 | |
# When I asked if he was black like me | 0:27:46 | 0:27:48 | |
# Mastering their thoughts and forgetting our own | 0:27:48 | 0:27:50 | |
# And you wonder why we always feel alone | 0:27:50 | 0:27:52 | |
# From the media to academia | 0:27:52 | 0:27:54 | |
# Hanging brothers like coats | 0:27:54 | 0:27:56 | |
# That's why in their schools | 0:27:56 | 0:27:58 | |
# I take two sets of notes. # | 0:27:58 | 0:28:00 | |
Rappers and MCs, I think, had this sense that they were... | 0:28:00 | 0:28:04 | |
that they were teachers, you know? | 0:28:04 | 0:28:06 | |
That they were schooling you. | 0:28:06 | 0:28:07 | |
When it came to subjects like black history, you know, | 0:28:16 | 0:28:18 | |
and sort of the notion that... | 0:28:18 | 0:28:20 | |
here is the stuff you were never taught in school. | 0:28:20 | 0:28:23 | |
You know, here is who we are, here is where we come from. | 0:28:23 | 0:28:25 | |
But I think that the idea that music can give you a sense of | 0:28:37 | 0:28:42 | |
consciousness and root you in a sense of self is really important. | 0:28:42 | 0:28:47 | |
You know, when I was growing up, | 0:28:47 | 0:28:50 | |
to have a rapper mention something like | 0:28:50 | 0:28:52 | |
Frances Cress Welsing, you know, | 0:28:52 | 0:28:54 | |
or Frantz Fanon, you know, | 0:28:54 | 0:28:57 | |
or one of these sort of great thinkers is... | 0:28:57 | 0:28:59 | |
Malcolm X, you know, it made me think, | 0:28:59 | 0:29:02 | |
"Well, maybe I should check that out. | 0:29:02 | 0:29:04 | |
"Maybe I should read that Malcolm X book, or that Frantz Fanon book. | 0:29:04 | 0:29:07 | |
"I want to know what that rapper is talking about". | 0:29:07 | 0:29:11 | |
I mean, I know that | 0:29:11 | 0:29:13 | |
Public Enemy was really critical to me, | 0:29:13 | 0:29:16 | |
as a person who was a teenager | 0:29:16 | 0:29:19 | |
when their records were coming out. | 0:29:19 | 0:29:22 | |
It was like, here's the guide for, you know, | 0:29:22 | 0:29:25 | |
where you need to go as a black intellectual. | 0:29:25 | 0:29:27 | |
# Bass! | 0:29:27 | 0:29:28 | |
# How low can you go? | 0:29:28 | 0:29:30 | |
# Death row | 0:29:30 | 0:29:31 | |
# What a brother knows | 0:29:31 | 0:29:32 | |
# Once again, back is the incredible | 0:29:32 | 0:29:34 | |
# The rhyme animal, the uncannable... | 0:29:34 | 0:29:36 | |
# D! Public Enemy Number One | 0:29:36 | 0:29:38 | |
# Five-O said, freeze!... # | 0:29:38 | 0:29:40 | |
'Most of us have a teacher who was especially important to us | 0:29:40 | 0:29:42 | |
'at an early age. | 0:29:42 | 0:29:44 | |
'For me, one of those teachers is someone who inspired me from afar - | 0:29:44 | 0:29:48 | |
'Chuck D from Public Enemy.' | 0:29:48 | 0:29:50 | |
I saw nothing but positivity | 0:29:51 | 0:29:54 | |
within the message that Public Enemy brought. | 0:29:54 | 0:29:57 | |
In terms of...I felt like... | 0:29:57 | 0:29:59 | |
This sounds quite silly. | 0:30:01 | 0:30:02 | |
But I felt like Chuck D wanted me to be a better person. You know? | 0:30:02 | 0:30:06 | |
And I feel like he helped make me a better person. | 0:30:08 | 0:30:11 | |
Chuck D was a massive influence on me when I was in my teens. | 0:30:12 | 0:30:16 | |
And, to be honest, I'm feeling a little bit daunted | 0:30:16 | 0:30:18 | |
about going to meet him in his childhood home. | 0:30:18 | 0:30:20 | |
# Never badder than bad, cos the brother is madder than mad | 0:30:20 | 0:30:22 | |
# At the fact that's corrupt like a senator | 0:30:22 | 0:30:24 | |
# Soul on a roll, but you treat it like soap on a rope | 0:30:24 | 0:30:26 | |
# Cos the beats and the lines are so dope | 0:30:26 | 0:30:28 | |
# Listen for lessons I'm saying inside... # | 0:30:28 | 0:30:31 | |
HE LAUGHS Wow. | 0:30:31 | 0:30:33 | |
The walls are covered in all kind of plaques and memorabilia. | 0:30:33 | 0:30:37 | |
There's gold discs, there's gold... | 0:30:37 | 0:30:39 | |
there's gold tapes. | 0:30:39 | 0:30:40 | |
They don't even make tapes any more. | 0:30:40 | 0:30:42 | |
And Spectrum City was the name of the crew before Public Enemy. | 0:30:42 | 0:30:45 | |
They used to do a radio show here in Long Island. | 0:30:45 | 0:30:48 | |
And, yeah, man... | 0:30:48 | 0:30:50 | |
this is it. This is what it is. | 0:30:50 | 0:30:52 | |
The record that first connected with me was | 0:30:52 | 0:30:55 | |
Miuzi Weighs A Ton. Fantastic. | 0:30:55 | 0:30:57 | |
# Rock, get up | 0:30:57 | 0:30:59 | |
# Get down | 0:30:59 | 0:31:00 | |
# Miuzi weighs a ton | 0:31:00 | 0:31:01 | |
# Hold it! # | 0:31:01 | 0:31:02 | |
That tune was earthmoving. Earthmoving. | 0:31:02 | 0:31:05 | |
# It was war they wanted | 0:31:05 | 0:31:06 | |
# And war they got | 0:31:06 | 0:31:07 | |
# But they wilted in the heat | 0:31:07 | 0:31:09 | |
# When Miuzi got hot | 0:31:09 | 0:31:11 | |
# Come on! Get up! # | 0:31:11 | 0:31:13 | |
They made us feel so good about ourselves. | 0:31:13 | 0:31:15 | |
And it was the two sides of the coin. | 0:31:15 | 0:31:18 | |
There was Chuck D and there was Flavor Flav. | 0:31:18 | 0:31:20 | |
He was like, you know, sweetening the pill. | 0:31:20 | 0:31:22 | |
You know they say "a spoonful of sugar helps the medicine go down"? | 0:31:22 | 0:31:25 | |
Well, that was what Flavor Flav did, | 0:31:25 | 0:31:27 | |
while Chuck D was feeding us this hard information. | 0:31:27 | 0:31:30 | |
And we were eagerly sucking it up. | 0:31:30 | 0:31:32 | |
Ah! | 0:31:32 | 0:31:34 | |
I'm so emotional right now. I feel like crying, swear down. | 0:31:34 | 0:31:37 | |
Fuck! | 0:31:37 | 0:31:39 | |
I'm feeling very... Give me a minute. Give me a minute. | 0:31:39 | 0:31:41 | |
HE WHISPERS: Oh, fuck! | 0:31:41 | 0:31:42 | |
I ain't ever done this before. | 0:31:44 | 0:31:45 | |
HE SNIFFS | 0:31:45 | 0:31:46 | |
HE SIGHS | 0:31:46 | 0:31:47 | |
You know, up until Public Enemy, | 0:31:49 | 0:31:51 | |
my favourite rappers had been Run DMC and LL Cool J. | 0:31:51 | 0:31:55 | |
And there's nothing wrong with those guys. I still love those guys. | 0:31:55 | 0:31:57 | |
But Public Enemy came with something else. | 0:31:59 | 0:32:02 | |
They made me...made me feel... | 0:32:02 | 0:32:04 | |
proud of who I was, where I came from, what I had to offer. | 0:32:04 | 0:32:08 | |
No other group had ever done that. | 0:32:08 | 0:32:10 | |
Public Enemy did, though. | 0:32:10 | 0:32:11 | |
HE SIGHS Oh. | 0:32:13 | 0:32:14 | |
Hip-hop... | 0:32:17 | 0:32:18 | |
hip-hop... | 0:32:18 | 0:32:20 | |
has given me so much. | 0:32:20 | 0:32:21 | |
And, within that, on a personal level... | 0:32:25 | 0:32:28 | |
I'm going to burst into tears in a minute. | 0:32:28 | 0:32:30 | |
I feel like Chuck D actually helped change | 0:32:33 | 0:32:36 | |
the direction of my life. | 0:32:36 | 0:32:38 | |
Jesus Christ! | 0:32:38 | 0:32:40 | |
HE SNIFFS | 0:32:40 | 0:32:42 | |
Unashamedly - I'm shedding these tears unashamedly. | 0:32:42 | 0:32:44 | |
These are happy tears. | 0:32:44 | 0:32:45 | |
Cos I feel lucky and thankful to be here. | 0:32:45 | 0:32:48 | |
Yeah. | 0:32:50 | 0:32:51 | |
Hip-hop did this. | 0:32:51 | 0:32:52 | |
Hip-hop changed the direction of my life. | 0:32:52 | 0:32:54 | |
And Chuck D is... | 0:32:54 | 0:32:56 | |
is one of the most important men in my life. | 0:32:56 | 0:32:59 | |
And I say that from the position of a fan | 0:32:59 | 0:33:02 | |
and as a hip-hop fan. | 0:33:02 | 0:33:04 | |
You know, hip-hop is often | 0:33:04 | 0:33:07 | |
just negated as just this childish thing | 0:33:07 | 0:33:10 | |
that these black kids from the ghetto started. | 0:33:10 | 0:33:13 | |
And it's actually so much more. | 0:33:13 | 0:33:14 | |
Yeah. It's so much more. | 0:33:17 | 0:33:19 | |
Oh! I'm done. I'm done. | 0:33:20 | 0:33:22 | |
HE SIGHS HEAVILY Phew! | 0:33:22 | 0:33:24 | |
# I got a letter from the Government the other day | 0:33:24 | 0:33:27 | |
# I opened and read it, it said they were suckers | 0:33:27 | 0:33:30 | |
# They wanted me for their army or whatever | 0:33:30 | 0:33:32 | |
# Picture me givin' a damn - I said never... # | 0:33:32 | 0:33:35 | |
Your music came to me at a time when... It feels like we needed to. | 0:33:35 | 0:33:40 | |
It really set me on a journey, and, in a lot of ways, | 0:33:40 | 0:33:44 | |
changed the direction of my life. | 0:33:44 | 0:33:46 | |
So firstly, I have to say thank you to you for that, but also, | 0:33:46 | 0:33:50 | |
how do YOU feel about it? | 0:33:50 | 0:33:52 | |
I'm supposed to do that. | 0:33:52 | 0:33:55 | |
You don't actually tell a parent who does a great job parenting, | 0:33:55 | 0:34:01 | |
"Oh, man, you're doing an incredible job," the parent would be like... | 0:34:01 | 0:34:06 | |
"I got to do it, and my love is unconditional." | 0:34:06 | 0:34:11 | |
# Well, I'm all in, put it up on the board | 0:34:11 | 0:34:14 | |
# Another rapper shot down from the mouth that roared... # | 0:34:14 | 0:34:17 | |
-Public Enemy No -1... Mm-hmm. | 0:34:17 | 0:34:20 | |
-..when that came out... -Mm-hmm. | 0:34:21 | 0:34:23 | |
-..it was so revolutionary. -Mmm. | 0:34:25 | 0:34:28 | |
# Like a Tyson bolo | 0:34:28 | 0:34:29 | |
# Make the fly girls wanna have my photo... # | 0:34:29 | 0:34:32 | |
Me and my group of friends, it sent me to the library, | 0:34:32 | 0:34:35 | |
it made me go and look for that Malcolm X book, | 0:34:35 | 0:34:37 | |
-it made me want to find out who Louis Farrakhan is, you know? -Mmm. | 0:34:37 | 0:34:41 | |
We knew what we were doing when we did it. Of course. | 0:34:41 | 0:34:43 | |
Cos we grew up in the '60s, we didn't grow up in the '70s. | 0:34:43 | 0:34:46 | |
Growing up in the '60s, | 0:34:46 | 0:34:48 | |
from assassinations to the Vietnam War, we seen impact, | 0:34:48 | 0:34:53 | |
we saw impact of the resistance against that, | 0:34:53 | 0:34:56 | |
the fight for civil rights. | 0:34:56 | 0:34:58 | |
What we didn't know was what was on the other end of the message, | 0:34:58 | 0:35:01 | |
until we travelled there. | 0:35:01 | 0:35:03 | |
So when we first came over to the UK, it was like, OK, you know, | 0:35:03 | 0:35:07 | |
they're not getting enough of who they are, | 0:35:07 | 0:35:10 | |
and let's talk about the similarities of all us. | 0:35:10 | 0:35:14 | |
Let's talk about things they don't know about us here, so it was | 0:35:14 | 0:35:18 | |
really a message to everyone saying that we're connected. | 0:35:18 | 0:35:22 | |
Hip-hop culture is a thing that ties us together as human beings, | 0:35:22 | 0:35:27 | |
cos of our similarities, and knocks aside the differences. | 0:35:27 | 0:35:31 | |
This is where culture and governments | 0:35:31 | 0:35:34 | |
are diametrically opposed. | 0:35:34 | 0:35:36 | |
Governments want to control people... | 0:35:36 | 0:35:39 | |
..culture wants to be able to free them. | 0:35:41 | 0:35:44 | |
Describing hip-hop as an extension of the Civil Rights Movement | 0:35:44 | 0:35:47 | |
might sound a bit strong, but it makes perfect sense to me. | 0:35:47 | 0:35:50 | |
It does the same job - | 0:35:50 | 0:35:52 | |
bringing people together under the banner of collective action | 0:35:52 | 0:35:55 | |
for social justice. | 0:35:55 | 0:35:56 | |
The music has meant everything to a people | 0:35:56 | 0:36:01 | |
who are considered voiceless. | 0:36:01 | 0:36:04 | |
In the United States of America, if you want to teach black history, | 0:36:04 | 0:36:06 | |
you don't even have to have a history class, just teach them | 0:36:06 | 0:36:11 | |
the music, the musicians and how it was made and what they were saying. | 0:36:11 | 0:36:15 | |
And you got half the job accomplished. My brother. | 0:36:15 | 0:36:19 | |
# Knowing what I know, and while the black bands sweating... # | 0:36:19 | 0:36:22 | |
Public Enemy came about at a time when I was at | 0:36:22 | 0:36:25 | |
a real crossroads in my life. | 0:36:25 | 0:36:28 | |
I wasn't sure what direction it was going to take, | 0:36:28 | 0:36:31 | |
and Public Enemy really helped cement my way of thinking, you know? | 0:36:31 | 0:36:38 | |
It... | 0:36:38 | 0:36:40 | |
It really, as a group, | 0:36:40 | 0:36:42 | |
they really explained to me what I felt and couldn't articulate. | 0:36:42 | 0:36:46 | |
And I think hip-hop does that for a lot of young people, | 0:36:46 | 0:36:49 | |
that's what the MC does when he's really good, they tell the story | 0:36:49 | 0:36:52 | |
that young people have in their hearts but don't know how to say. | 0:36:52 | 0:36:55 | |
And Chuck D did that for me. | 0:36:55 | 0:36:57 | |
Yet hip-hop is often denigrated. | 0:36:57 | 0:37:00 | |
Could that be because hip-hop is somehow seen as...lesser? | 0:37:00 | 0:37:05 | |
You know what sounds like. | 0:37:05 | 0:37:07 | |
Racism is about doubting the mental capabilities of black people. | 0:37:07 | 0:37:15 | |
Physically, we are supposed to be superior, right? | 0:37:15 | 0:37:19 | |
Sexually, athletically, the way we dance and move, | 0:37:19 | 0:37:23 | |
these things are, like, lionised. | 0:37:23 | 0:37:25 | |
So really, we're only talking about white people feeling like | 0:37:25 | 0:37:28 | |
their mental capabilities are greater than black people, | 0:37:28 | 0:37:33 | |
so then it becomes anything that black people do is lesser, | 0:37:33 | 0:37:38 | |
so yeah, this rapping is somehow lesser, | 0:37:38 | 0:37:42 | |
even though a rap song contains | 0:37:42 | 0:37:45 | |
four to five times more words than your average R&B or rock song! | 0:37:45 | 0:37:51 | |
So a lot more thought and writing has to go into it, | 0:37:51 | 0:37:55 | |
but let's not let facts get in the way(!) | 0:37:55 | 0:37:58 | |
# Just like music... # | 0:37:58 | 0:38:01 | |
Hip-hop is the most democratic art form. | 0:38:04 | 0:38:07 | |
You never know where the next household name | 0:38:07 | 0:38:10 | |
is going to come from. | 0:38:10 | 0:38:11 | |
Hip-hop is street music, it comes from the ground up, | 0:38:11 | 0:38:14 | |
so I want to find out what it's like to be part of | 0:38:14 | 0:38:17 | |
the New York hip-hop scene from the bottom. | 0:38:17 | 0:38:20 | |
I'm talking about the foundation of hip-hop, | 0:38:20 | 0:38:22 | |
groups of guys getting together and showing their lyrical skills, | 0:38:22 | 0:38:27 | |
it's what hip-hop was built on, and it's places like this, | 0:38:27 | 0:38:30 | |
Union Square Park, where every Friday the hip-hop kids | 0:38:30 | 0:38:33 | |
come out, they'll get together, cypher, | 0:38:33 | 0:38:36 | |
and put their skills on show. | 0:38:36 | 0:38:38 | |
Let's go and see what kind of skills they got, innit? | 0:38:38 | 0:38:41 | |
# Turning into Marvin Gaye, I do this all day | 0:38:41 | 0:38:43 | |
# Coming out of BK, I bumped on some heads and they fucked with my brains | 0:38:43 | 0:38:46 | |
# Oh, you came up out of Brooklyn, we'll show you how it's lookin'... # | 0:38:46 | 0:38:49 | |
Yo, this is Legendary Cyphers, man. | 0:38:49 | 0:38:51 | |
Anybody can get in, regardless of skill level. | 0:38:51 | 0:38:55 | |
If somebody's not that nice, | 0:38:55 | 0:38:56 | |
they gon' get a couple bars off and somebody gon' cut them off. | 0:38:56 | 0:39:00 | |
# ..verses like this | 0:39:00 | 0:39:03 | |
# Another vocalist, so sick they call me syphilis | 0:39:03 | 0:39:06 | |
# The flow is sweeter than liquorice | 0:39:06 | 0:39:08 | |
# You 'ready seen our shit, like hickory | 0:39:08 | 0:39:10 | |
# You know I'm feeling it every time I start spittin' | 0:39:10 | 0:39:13 | |
# I do it early, I love music, spitting out Erick Sermon | 0:39:13 | 0:39:15 | |
# Like I'm a preacher, understand I had to reach you | 0:39:15 | 0:39:18 | |
# I had to beat you, put me up on a feature | 0:39:18 | 0:39:20 | |
# You already seen, I'm never slacking | 0:39:20 | 0:39:22 | |
# I feel like Poseidon, let's get it crackin'. # | 0:39:22 | 0:39:24 | |
OTHERS: Ohhh! | 0:39:24 | 0:39:27 | |
It's the purest platform to be out ever. | 0:39:27 | 0:39:30 | |
Your reputation, your name and all that means nothing out here. | 0:39:30 | 0:39:34 | |
# Causing revolution, burn constitution, mental institution | 0:39:34 | 0:39:38 | |
# Coming through stupid, no, we love this music... # | 0:39:38 | 0:39:42 | |
This is New York. | 0:39:43 | 0:39:46 | |
There's such a proud feeling to know that my city changed the world. | 0:39:46 | 0:39:49 | |
You know what I mean? And that's really real, | 0:39:49 | 0:39:52 | |
particularly because growing up, | 0:39:52 | 0:39:53 | |
all you hear is, "You ain't gon' be shit." | 0:39:53 | 0:39:56 | |
They would tell us, | 0:39:56 | 0:39:57 | |
"Statistically speaking, you'll be dead or in jail by 21." You know? | 0:39:57 | 0:40:01 | |
So I think that despite all these challenges and adversities, | 0:40:01 | 0:40:03 | |
the fact that we birthed something | 0:40:03 | 0:40:05 | |
that changed the world is incredible. | 0:40:05 | 0:40:06 | |
Yo, for real, we free, off the top of the mic, how it happens. | 0:40:06 | 0:40:10 | |
-It's all good. Is it OK if I start, Blackie? -Of course. | 0:40:10 | 0:40:14 | |
# Latin assassin, make you listen | 0:40:14 | 0:40:16 | |
# I get love from the US to Brixton... # | 0:40:16 | 0:40:18 | |
Dunno! | 0:40:18 | 0:40:20 | |
# So right now I'mma pass to my man, he reppin' London | 0:40:20 | 0:40:24 | |
# Yo, Lord forgive me, I'm trying | 0:40:24 | 0:40:25 | |
# But I'd be lying if I said | 0:40:25 | 0:40:27 | |
# I didn't find the finer things inspiring | 0:40:27 | 0:40:29 | |
# And why did I have to climb out of the environment? | 0:40:29 | 0:40:32 | |
# I had to play with fire, but I desire a higher 'ting | 0:40:32 | 0:40:34 | |
# But they ain't hirin', | 0:40:34 | 0:40:35 | |
# That's why I'm up on a hustle till I'm perspirin' | 0:40:35 | 0:40:37 | |
# Cos I'm a man that's trying to win | 0:40:37 | 0:40:39 | |
# I'm on tour, hear me roar, I'm the Lion King | 0:40:39 | 0:40:42 | |
# I'm the guy your momma told your sister, "Keep your eye on him" | 0:40:42 | 0:40:44 | |
-OTHERS: -Ohh! | 0:40:44 | 0:40:46 | |
# "Cos he's a keeper" | 0:40:46 | 0:40:47 | |
# Coming live through your speaker | 0:40:47 | 0:40:49 | |
# Me lickle mates, lickle miz, lickle tweeter | 0:40:49 | 0:40:52 | |
# Pour the brown sugar, make the whole thing sweeter... # | 0:40:52 | 0:40:55 | |
-OTHERS: -Woo! | 0:40:55 | 0:40:56 | |
Yo, show some love for the Cypher, big up Majesty. | 0:40:56 | 0:40:59 | |
Yo, this is the real thing. | 0:41:03 | 0:41:06 | |
See that, for me, as a hip-hop fan, this is what I came to New York for. | 0:41:06 | 0:41:09 | |
This is where the real vibe of the hip-hop culture is, and I love it. | 0:41:09 | 0:41:14 | |
I'm going back in the circuit. | 0:41:14 | 0:41:16 | |
One of the things I love most about how we report the world | 0:41:22 | 0:41:25 | |
through hip-hop culture is that there is no editorial control. | 0:41:25 | 0:41:28 | |
Once you have proved yourself smart enough, | 0:41:28 | 0:41:31 | |
entertaining enough or original enough to win an audience, | 0:41:31 | 0:41:34 | |
you can report from anywhere, about anything, | 0:41:34 | 0:41:38 | |
with no-one telling you what you can or can't say. | 0:41:38 | 0:41:41 | |
You can't have hip-hop if you give a fuck. | 0:41:42 | 0:41:45 | |
Hip-hop gives no fucks. | 0:41:45 | 0:41:46 | |
If we gave a fuck, we wouldn't have created hip-hop. | 0:41:46 | 0:41:50 | |
# So when you see me on your block with two Glocks | 0:41:50 | 0:41:52 | |
# Screaming, "Fuck the world", like Tupac | 0:41:52 | 0:41:54 | |
# I just don't give a fuck | 0:41:54 | 0:41:55 | |
# Talking that shit behind my back, dirty mackin | 0:41:55 | 0:41:57 | |
# Telling your boys that I'm on crack | 0:41:57 | 0:41:59 | |
# I just don't give a fuck... # | 0:41:59 | 0:42:01 | |
When you have freedom and you don't use the gift of freedom | 0:42:01 | 0:42:04 | |
and tell people how you feel, I think you're doing an injustice | 0:42:04 | 0:42:08 | |
to the people before us who didn't have that freedom. | 0:42:08 | 0:42:12 | |
By not speaking your mind. | 0:42:12 | 0:42:14 | |
But the freedom to not give a fuck means that you can't really complain | 0:42:14 | 0:42:17 | |
when YOU'RE offended, and there's one word I really struggle with. | 0:42:17 | 0:42:21 | |
I'm doing work in Yola, Nigeria. | 0:42:21 | 0:42:24 | |
Young woman asked me, she was innocent, she meant no harm, | 0:42:24 | 0:42:26 | |
she said, "Do you have a problem with me saying to you, | 0:42:26 | 0:42:29 | |
" 'What's up, my N-I-G-G-A?' " In Africa. | 0:42:29 | 0:42:32 | |
I was like, "Dang." | 0:42:32 | 0:42:33 | |
This is when you know something has been totally corrupted, | 0:42:33 | 0:42:36 | |
that even in Africa people are just throwing the word around. | 0:42:36 | 0:42:38 | |
Meanwhile, your ancestors were taken out of Africa and made into | 0:42:38 | 0:42:41 | |
slaves because someone saw them as N-I-G-G-A-S. | 0:42:41 | 0:42:45 | |
And now, we have embraced all of that, that mind-set. | 0:42:45 | 0:42:47 | |
# So I ball so hard motherfuckers wanna fine me | 0:42:47 | 0:42:50 | |
# First niggas gotta find me | 0:42:50 | 0:42:51 | |
# What's 50 grand to a motherfucker like me? | 0:42:51 | 0:42:53 | |
# Can you please remind me? # | 0:42:53 | 0:42:55 | |
A word like "nigger" and everything it historically represents | 0:42:55 | 0:43:00 | |
has no attraction for me. | 0:43:00 | 0:43:03 | |
And I get that black America has a different relationship | 0:43:04 | 0:43:07 | |
with the word historically. | 0:43:07 | 0:43:10 | |
And the problem I find with a lot of mainly American hip-hop | 0:43:10 | 0:43:14 | |
is they don't appreciate the relationship | 0:43:14 | 0:43:18 | |
the rest of the world has with the word. | 0:43:18 | 0:43:21 | |
Someone like Jay-Z and Kanye West making | 0:43:21 | 0:43:24 | |
a record like Niggas In Paris, and you hear it in the supermarket, | 0:43:24 | 0:43:27 | |
on the main road - you hear it everywhere. | 0:43:27 | 0:43:30 | |
Hit record. But actually, what are they saying? | 0:43:30 | 0:43:35 | |
What are they actually saying? | 0:43:35 | 0:43:37 | |
For them, yeah, it may be, "Me and my mates in Paris", | 0:43:37 | 0:43:41 | |
but for the rest of the world, it still means "niggas in Paris". | 0:43:41 | 0:43:45 | |
# That shit cray, that shit cray... # | 0:43:46 | 0:43:50 | |
I get white folk coming up to me asking for N... In Paris. | 0:43:50 | 0:43:53 | |
What do I do? | 0:43:53 | 0:43:54 | |
And they don't know any better, not to say, | 0:43:54 | 0:43:56 | |
"Can I have the Paris song by Jay-Z?" | 0:43:56 | 0:43:58 | |
They don't know that it's not necessarily something | 0:43:58 | 0:44:00 | |
they shouldn't say, even though they know. | 0:44:00 | 0:44:02 | |
But because it's on the radio, on TV, they hear it everywhere, | 0:44:02 | 0:44:05 | |
what are they supposed to do? | 0:44:05 | 0:44:07 | |
It's uncomfortable to see people enjoying that word, | 0:44:07 | 0:44:11 | |
and I know it's not something they should really be saying. | 0:44:11 | 0:44:13 | |
But you can't put a caveat on every song - | 0:44:13 | 0:44:15 | |
-AMERICAN ACCENT: -"Yeah, I made this word, | 0:44:15 | 0:44:17 | |
"I made the song, but it's only for people | 0:44:17 | 0:44:20 | |
"in the 'hood to sing that word. | 0:44:20 | 0:44:21 | |
"If you ain't from the 'hood, you don't know me, you can't sing that." | 0:44:21 | 0:44:24 | |
How does that work? | 0:44:24 | 0:44:26 | |
It's all about context. | 0:44:26 | 0:44:28 | |
So when me and my niggas use it, it's totally fine. | 0:44:28 | 0:44:30 | |
When I see my brother, I'm like, "Yo, that's my nigga." | 0:44:30 | 0:44:33 | |
Know what I'm saying? | 0:44:33 | 0:44:34 | |
It also has a lot to do with freaking the language. | 0:44:34 | 0:44:37 | |
That's what hip-hop is about, right? | 0:44:37 | 0:44:39 | |
Not bad meaning bad, but bad meaning good. | 0:44:39 | 0:44:42 | |
We freak the language. | 0:44:42 | 0:44:44 | |
The subversive nature of hip-hop requires it, | 0:44:44 | 0:44:47 | |
and the sort of aggressive nature of hip-hop requires it. | 0:44:47 | 0:44:51 | |
When people talk about recapturing the word, I'm like, | 0:44:56 | 0:44:58 | |
"Come on, you really serious?" | 0:44:58 | 0:45:01 | |
Why are we the only ones trying to turn around certain types of word? | 0:45:01 | 0:45:06 | |
And it's like there's a board somewhere that's like, | 0:45:18 | 0:45:21 | |
"No hip-hop song can be released unless there's at least 3.5 'niggas' | 0:45:21 | 0:45:26 | |
"in that song," so you don't have enough niggas, | 0:45:26 | 0:45:28 | |
go back to the studio and put more in there! | 0:45:28 | 0:45:31 | |
Me, I don't have a context to use it in. | 0:45:31 | 0:45:33 | |
I don't call anybody I know it, I don't expect to be called it. | 0:45:33 | 0:45:37 | |
It's a difficult one. | 0:45:37 | 0:45:39 | |
It's a valuable marker for our generation, or for this moment | 0:45:39 | 0:45:43 | |
in American history, the people who will say it | 0:45:43 | 0:45:45 | |
and the people who won't say it. | 0:45:45 | 0:45:47 | |
And there's strong groups on both sides, | 0:45:47 | 0:45:50 | |
not necessarily generational, and the rappers who put their flag | 0:45:50 | 0:45:54 | |
in the ground and can say "nigga" in the right way... | 0:45:54 | 0:45:58 | |
It feels good, it's part of hip-hop, man. | 0:45:58 | 0:46:00 | |
# Cos I'm the nigga | 0:46:00 | 0:46:02 | |
# The nigga, nigga, like how you figure? # | 0:46:02 | 0:46:04 | |
Why do we feel the need to claim it? I don't want it. | 0:46:04 | 0:46:07 | |
Let it stand as what it is and let no-one be allowed to use it. | 0:46:07 | 0:46:11 | |
Just because it's another black guy saying it | 0:46:11 | 0:46:13 | |
doesn't make it any less offensive to me. | 0:46:13 | 0:46:15 | |
# But at least a nigga-nigga rich | 0:46:15 | 0:46:17 | |
# I be fuckin' broads like I be fuckin' bored... # | 0:46:17 | 0:46:19 | |
The word is poison to the majority of black people on this planet. | 0:46:19 | 0:46:23 | |
And even to the ones who say they use it as a term of endearment, | 0:46:23 | 0:46:27 | |
they'll tell you, "But I spell it with an A on the end." | 0:46:27 | 0:46:30 | |
Well, you may SPELL it with an A on the end, | 0:46:30 | 0:46:32 | |
but you still say it with an -ER. | 0:46:32 | 0:46:34 | |
I don't want to give anybody the opportunity to come and use | 0:46:34 | 0:46:40 | |
that word in my presence and think it's OK. | 0:46:40 | 0:46:44 | |
It's not OK. It never will be for someone like me. | 0:46:44 | 0:46:48 | |
# But this long-dick nigga ain't for the long-talking, I beast | 0:46:48 | 0:46:51 | |
# I love bad bitches, that's my fucking problem... # | 0:46:51 | 0:46:53 | |
I know this kind of language and imagery can make people look | 0:46:53 | 0:46:56 | |
at hip-hop in a negative light. | 0:46:56 | 0:46:57 | |
And I'll be honest, there's another subject that can get people | 0:46:57 | 0:47:01 | |
fired up about hip-hop, and that's the portrayal of women. | 0:47:01 | 0:47:05 | |
# How many licks does it take till you get to the centre of the...? | 0:47:05 | 0:47:08 | |
# Yes, I got to know | 0:47:08 | 0:47:09 | |
# How many licks does it take till you get to the centre of the...? | 0:47:09 | 0:47:12 | |
# Tell me... # | 0:47:12 | 0:47:13 | |
In the '90s, | 0:47:13 | 0:47:15 | |
Lil' Kim embodied the place women occupied in hip-hop culture. | 0:47:15 | 0:47:18 | |
A strong female artist using highly sexualised imagery | 0:47:18 | 0:47:22 | |
to get to the top. | 0:47:22 | 0:47:23 | |
# This verse goes out to my niggas in jail | 0:47:23 | 0:47:25 | |
# Beating they dicks to the XXL...Magazine | 0:47:25 | 0:47:28 | |
# You like how I look in the aqua green? | 0:47:28 | 0:47:30 | |
# Get your Vaseline, roll some weed with some tissue and close your eyes | 0:47:30 | 0:47:34 | |
# Then imagine your tongue in between my thighs | 0:47:34 | 0:47:36 | |
# Jailer, open up | 0:47:36 | 0:47:38 | |
# Cell Block Eight... # | 0:47:38 | 0:47:40 | |
It's complex, it's complicated. | 0:47:41 | 0:47:43 | |
Firstly, I don't want to point the finger at hip-hop and say | 0:47:43 | 0:47:46 | |
hip-hop is doing something that society is not doing. | 0:47:46 | 0:47:50 | |
But... But that's no... | 0:47:50 | 0:47:53 | |
Two wrongs don't make a right, as they say. In a lot of ways, | 0:47:53 | 0:47:56 | |
hip-hop has its foot on the neck of women, you know? | 0:47:56 | 0:48:01 | |
It's not showing a lot of love. | 0:48:01 | 0:48:04 | |
Women have had to historically fight for their voices in this culture, | 0:48:04 | 0:48:07 | |
in this industry, just like they've had to do in the larger world. | 0:48:07 | 0:48:11 | |
# Oh, my gosh, look at her butt | 0:48:11 | 0:48:14 | |
# Oh, my gosh, look at her butt... # | 0:48:14 | 0:48:18 | |
Women have felt the need, for whatever reason, | 0:48:18 | 0:48:20 | |
be it Nicki Minaj or Lil' Kim, that, "In this sexist world, | 0:48:20 | 0:48:24 | |
"do I have to be basically be from the neck down | 0:48:24 | 0:48:26 | |
"in order to even be noticed?" | 0:48:26 | 0:48:28 | |
We don't ask dudes to do that, but we expect the women to do it. | 0:48:28 | 0:48:30 | |
And then we diss her for doing it and call her names. | 0:48:30 | 0:48:34 | |
# My anaconda don't | 0:48:34 | 0:48:35 | |
# My anaconda don't want none unless you got buns, hun... # | 0:48:35 | 0:48:40 | |
Pretty much everything in life uses sex to sell, | 0:48:40 | 0:48:44 | |
so when hip-hop became this huge commercial commodity, | 0:48:44 | 0:48:47 | |
the fact they used sex to help sell it is no big surprise. | 0:48:47 | 0:48:51 | |
There is a better hustle for us. The naked hustle ain't always it. | 0:48:51 | 0:48:57 | |
I never wanna see anyone degrade themselves, | 0:48:57 | 0:48:59 | |
compromise their integrity for anything. | 0:48:59 | 0:49:02 | |
Not for no man, not for anything materialistic, | 0:49:03 | 0:49:06 | |
not for a better lifestyle. | 0:49:06 | 0:49:08 | |
Know what I'm saying? There's other ways to go about it. | 0:49:08 | 0:49:10 | |
# U-N-I-T-Y | 0:49:10 | 0:49:12 | |
# U-N-I-T-Y, that's-a unity | 0:49:12 | 0:49:15 | |
# U-N-I-T-Y | 0:49:15 | 0:49:17 | |
# Love a black man from infinity | 0:49:17 | 0:49:19 | |
# Who you callin' a bitch? # | 0:49:19 | 0:49:21 | |
Back in the 1990s, women rappers DID find | 0:49:21 | 0:49:23 | |
a different way to go about it, with some | 0:49:23 | 0:49:25 | |
of the biggest names coming together under the banner of Ladies First. | 0:49:25 | 0:49:29 | |
When you had Queen Latifah, Monie Love, Yo-Yo, MC Lyte | 0:49:30 | 0:49:33 | |
and that whole Ladies First movement, | 0:49:33 | 0:49:35 | |
when you had that it was more like, | 0:49:35 | 0:49:37 | |
"This is who we are, respect us for who we are." | 0:49:37 | 0:49:40 | |
That's Queen Latifah empowering sisters, educating brothers. | 0:49:50 | 0:49:55 | |
There's a legacy there, the best MC in hip-hop ever was a female, | 0:49:55 | 0:50:00 | |
IS a female. And that's Lauryn Hill. | 0:50:00 | 0:50:03 | |
# My friend, come again | 0:50:05 | 0:50:07 | |
# Guys, you know you better watch out... # | 0:50:08 | 0:50:12 | |
You show me, in the history of hip-hop, one or two | 0:50:12 | 0:50:15 | |
or three albums better than The Miseducation of Lauryn Hill. | 0:50:15 | 0:50:18 | |
Seriously, from every angle imaginable - musically, | 0:50:18 | 0:50:22 | |
lyrically, she could sing and she could flow with any dude out there. | 0:50:22 | 0:50:25 | |
What IS it like as a woman | 0:50:35 | 0:50:37 | |
navigating the male-dominated hip-hop world? | 0:50:37 | 0:50:39 | |
Let's face it, the female perspective | 0:50:39 | 0:50:42 | |
has been missing from my journey so far. | 0:50:42 | 0:50:44 | |
Luckily, my mate Estelle made it big in the American hip-hop world, | 0:50:44 | 0:50:47 | |
and she didn't take her clothes off to do it. | 0:50:47 | 0:50:50 | |
# Take me on a trip, I'd like to go someday | 0:50:50 | 0:50:53 | |
# Take me to New York, I'd love to see LA | 0:50:53 | 0:50:56 | |
# I really want to | 0:50:56 | 0:50:59 | |
# Come kick it with you | 0:50:59 | 0:51:01 | |
# You'll be my American boy | 0:51:01 | 0:51:04 | |
# Tell 'em wagwan, blud... # | 0:51:04 | 0:51:06 | |
Female-wise, who were the ladies who inspired you to say, | 0:51:06 | 0:51:08 | |
"I can do that"? | 0:51:08 | 0:51:10 | |
You had Foxy Brown and Lil' Kim, and for me, | 0:51:10 | 0:51:12 | |
it wasn't about them being naked, it was just the words... | 0:51:12 | 0:51:15 | |
They could spit! | 0:51:15 | 0:51:17 | |
Right, they said something that resonated with me, | 0:51:17 | 0:51:19 | |
that made me feel good as a black woman, as a young black girl. | 0:51:19 | 0:51:22 | |
# I'm the most critically acclaimed rapstress in the game | 0:51:22 | 0:51:25 | |
# Coast to coast, stashed the gat in holster girl | 0:51:25 | 0:51:28 | |
# Dark skinned, Christian Dior poster girl | 0:51:28 | 0:51:30 | |
# Mo'rockin Timbs chick, and the Gucci loafer girl... # | 0:51:30 | 0:51:33 | |
Did you ever feel pressure to sex it up? | 0:51:33 | 0:51:36 | |
I always felt like I'm from London, this is what we do, is we dress. | 0:51:36 | 0:51:39 | |
So I'm good. I don't have to be out here arse-naked, | 0:51:39 | 0:51:42 | |
you're going to pay attention to my words, | 0:51:42 | 0:51:44 | |
and if you need something to look at, well, I look fresh. | 0:51:44 | 0:51:47 | |
So look at that. | 0:51:47 | 0:51:48 | |
There's nothing wrong with being sexy, and this is just as a woman. | 0:51:48 | 0:51:52 | |
Be as sexy as you want, but know that you have to keep that up, | 0:51:52 | 0:51:57 | |
and as tight as you get keeping it up on a regular day | 0:51:57 | 0:52:00 | |
for your dude, you have to keep it up for the whole world. | 0:52:00 | 0:52:04 | |
You will get bored of it, and the minute you get bored of it, | 0:52:04 | 0:52:06 | |
there goes your career. | 0:52:06 | 0:52:08 | |
What do you say to people who say, "This whole thing | 0:52:08 | 0:52:10 | |
"is just misogynistic, there's no respect shown"? | 0:52:10 | 0:52:12 | |
How do you feel about that? | 0:52:12 | 0:52:13 | |
It kind of is true, it's misogynistic as hell! | 0:52:13 | 0:52:17 | |
So how do you balance that out with being a fan of the music? | 0:52:17 | 0:52:21 | |
You just listen to what you want to listen to and don't to the rest. | 0:52:21 | 0:52:24 | |
# Missy be puttin' it down, I'm the hottest 'round | 0:52:24 | 0:52:26 | |
# I told y'all mother... | 0:52:26 | 0:52:28 | |
# Y'all can't stop me now | 0:52:28 | 0:52:30 | |
# Listen to me now, I'm lastin' 20 rounds | 0:52:30 | 0:52:32 | |
-# And if you want me -Nigga | 0:52:32 | 0:52:33 | |
# Then come and get me now... # | 0:52:33 | 0:52:35 | |
I fully believe that women should be able to | 0:52:35 | 0:52:36 | |
do what they want with their bodies. | 0:52:36 | 0:52:38 | |
I'm not one of these girls that's like, "No, cover it up!" | 0:52:38 | 0:52:41 | |
No, once you are past a certain age, it's your choice. | 0:52:41 | 0:52:45 | |
# The embezzler, chrome treasurer | 0:52:45 | 0:52:47 | |
# The U-N-O competitor | 0:52:47 | 0:52:49 | |
# I'm ten steps ahead of ya | 0:52:49 | 0:52:50 | |
# I'm a leader, y'all on some followin' shit | 0:52:50 | 0:52:52 | |
# Comin' in this game on some modelling shit | 0:52:52 | 0:52:55 | |
# Bitches suck cock just to get to the top | 0:52:55 | 0:52:57 | |
# I put 100% in every line I drop | 0:52:57 | 0:53:00 | |
# It's the Q to the B, with the M-O-B-B | 0:53:00 | 0:53:03 | |
# Queensbridge, Brooklyn and we D-E-E-P... # | 0:53:03 | 0:53:05 | |
So what does hip-hop look like if you take women out? | 0:53:05 | 0:53:09 | |
It looks like a very one-dimensional cockfight. | 0:53:09 | 0:53:12 | |
THEY LAUGH | 0:53:12 | 0:53:14 | |
# When you bump this, drugs to your eardrum... # | 0:53:14 | 0:53:16 | |
Looking at the world through the lens of hip-hop, | 0:53:16 | 0:53:19 | |
I do think Estelle is right. | 0:53:19 | 0:53:20 | |
Hip-hop can often look like a big cockfight, | 0:53:20 | 0:53:23 | |
and there was a point in the '90s when it became | 0:53:23 | 0:53:26 | |
this real testerone-fuelled game of one-upmanship. | 0:53:26 | 0:53:29 | |
It used to be, "Look how fly my trainers are." | 0:53:29 | 0:53:34 | |
Then it was, "I've got a plane, I've got a yacht." | 0:53:34 | 0:53:38 | |
That presentation became the overriding thing, | 0:53:38 | 0:53:41 | |
the bling lifestyle. | 0:53:41 | 0:53:43 | |
In hip-hop, it's all about the Benjamins, baby. | 0:53:45 | 0:53:48 | |
# Save money for the drinks, I'm about to buy the bar... # | 0:53:48 | 0:53:51 | |
The music and the culture has gone to this point of | 0:53:51 | 0:53:55 | |
huge pop culture dominance. | 0:53:55 | 0:53:57 | |
It's like this huge behemoth, but still, at its core, | 0:53:57 | 0:54:02 | |
are a bunch of kids who yesterday lived in shit | 0:54:02 | 0:54:08 | |
and today they're swimming in champagne. | 0:54:08 | 0:54:11 | |
Imagine being a 17-year-old kid trying to navigate that divide, | 0:54:22 | 0:54:26 | |
that change in your life. | 0:54:26 | 0:54:28 | |
It's not an easy thing. | 0:54:28 | 0:54:30 | |
This is new money. | 0:54:30 | 0:54:31 | |
You could read about this in The Great Gatsby, | 0:54:31 | 0:54:33 | |
about how people act with new money. | 0:54:33 | 0:54:35 | |
New money looks a lot different than old money. | 0:54:35 | 0:54:38 | |
If you have money for years and generations of money, | 0:54:38 | 0:54:42 | |
you're not so flashy, you know, you do other things with your money. | 0:54:42 | 0:54:47 | |
Hip-hop has always had a "fake it till you make it" ethos. | 0:54:47 | 0:54:50 | |
The cars may be rented, the plane might be a prop, | 0:54:50 | 0:54:53 | |
but it all looked great, and lots of those artists went from | 0:54:53 | 0:54:57 | |
looking like they had a lot of money to ACTUALLY making a lot of money. | 0:54:57 | 0:55:01 | |
The idea is always to push | 0:55:01 | 0:55:04 | |
the ideal of, "I'm bigger, badder, richer than YOU." | 0:55:04 | 0:55:10 | |
That's the idea. | 0:55:10 | 0:55:11 | |
We do talk about money a lot, | 0:55:21 | 0:55:24 | |
but who doesn't? | 0:55:24 | 0:55:26 | |
Where is the conversation that money doesn't get spoken about in? | 0:55:26 | 0:55:29 | |
Who's having it? | 0:55:29 | 0:55:31 | |
Maybe people who have money. | 0:55:31 | 0:55:32 | |
# Cash rules everything around me | 0:55:32 | 0:55:34 | |
# C.R.E.A.M, get the money dolla dolla bill, ya'll... # | 0:55:34 | 0:55:37 | |
Hip-hop is obsessed with money | 0:55:37 | 0:55:39 | |
because America is obsessed with money. Hip-hop was born in America. | 0:55:39 | 0:55:43 | |
Hip-hop is simply the latest cultural manifestation | 0:55:43 | 0:55:46 | |
of American values. | 0:55:46 | 0:55:49 | |
Money in hip-hop represents freedom, | 0:55:49 | 0:55:51 | |
the ability to be able to take care and provide for your family. | 0:55:51 | 0:55:54 | |
The reason why I live in this shitty house, in this shitty apartment, | 0:55:54 | 0:55:58 | |
and on this side of town and not in this nice house with grass and... | 0:55:58 | 0:56:02 | |
is why? Cos of money, right? | 0:56:02 | 0:56:04 | |
The reason I don't have any money is because my momma had no money. | 0:56:04 | 0:56:06 | |
Why does my momma have nothing? Cos her momma ain't had no money. | 0:56:06 | 0:56:09 | |
Why did her momma have no money? Cos her momma ain't had no money. | 0:56:09 | 0:56:12 | |
How come her momma ain't had money? | 0:56:12 | 0:56:13 | |
Oh, cos she was a slave. | 0:56:13 | 0:56:15 | |
So black people inherited the legacy of slavery, which is poverty, | 0:56:15 | 0:56:19 | |
so money represents this vehicle of freedom. | 0:56:19 | 0:56:23 | |
# California love... # | 0:56:23 | 0:56:25 | |
MUSIC: California Love by 2Pac | 0:56:25 | 0:56:27 | |
A handful of key players took the opportunity hip-hop gave them | 0:56:32 | 0:56:35 | |
to generate huge amounts of wealth. | 0:56:35 | 0:56:38 | |
Those people became known as the hip-hop moguls. | 0:56:38 | 0:56:40 | |
# California knows how to party... # | 0:56:40 | 0:56:45 | |
I'm just on the way to go and meet Russell Simmons, | 0:56:45 | 0:56:47 | |
who's arguably the first real hip-hop mogul. | 0:56:47 | 0:56:50 | |
He's the guy behind Def Jam Records alongside Rick Rubin. | 0:56:50 | 0:56:54 | |
They're the guys who really brought | 0:56:54 | 0:56:56 | |
this commercial hip-hop to the world. | 0:56:56 | 0:56:59 | |
# City of Compton... # | 0:56:59 | 0:57:01 | |
Russell's been there from the beginning | 0:57:01 | 0:57:03 | |
and showing a lot of the guys who came after them | 0:57:03 | 0:57:06 | |
just how you can build a brand. | 0:57:06 | 0:57:08 | |
Russell was the first to do that. | 0:57:08 | 0:57:10 | |
I know, I know, I'm talking about a New York mogul | 0:57:12 | 0:57:15 | |
and playing a West Coast anthem, | 0:57:15 | 0:57:17 | |
but we are in LA and I had to get 2Pac in somewhere. | 0:57:17 | 0:57:21 | |
-Victor. Victor Syng. -Glad to meet you. My name's Rodney P. | 0:57:21 | 0:57:24 | |
My pleasure, my pleasure. | 0:57:24 | 0:57:26 | |
Russell must be an important man or something, huh? | 0:57:26 | 0:57:28 | |
Absolutely, absolutely. | 0:57:28 | 0:57:29 | |
He's the original hip-hop mogul, | 0:57:29 | 0:57:31 | |
so we're definitely glad to get an opportunity to speak to him. | 0:57:31 | 0:57:34 | |
-He's every bit of that. -Yes, indeed. | 0:57:34 | 0:57:36 | |
-Well, let me show you around a little bit. -OK. | 0:57:36 | 0:57:37 | |
# ..I robbed Liberace | 0:57:37 | 0:57:39 | |
# It's all good from Diego to tha Bay | 0:57:39 | 0:57:41 | |
# Your city is tha bomb if your city makin' pay | 0:57:41 | 0:57:44 | |
# Throw up a finger if ya feel the same way... # | 0:57:44 | 0:57:47 | |
This film we're making is about looking at the world | 0:57:47 | 0:57:49 | |
through the lens of hip-hop. | 0:57:49 | 0:57:50 | |
As someone who has really been a part of bringing money to hip-hop | 0:57:50 | 0:57:55 | |
and hip-hop often being looked at as money-obsessed - | 0:57:55 | 0:57:59 | |
do you think that's a fair thing to say? | 0:57:59 | 0:58:01 | |
No! | 0:58:01 | 0:58:02 | |
I mean, materialism - | 0:58:02 | 0:58:03 | |
all they say is, they want the shit Americans are selling. | 0:58:03 | 0:58:07 | |
The stuff that is high-end and aspirational | 0:58:07 | 0:58:10 | |
equals the American Dream. | 0:58:10 | 0:58:12 | |
That's what hip-hop says they want, a lot of hip-hop says that. | 0:58:12 | 0:58:15 | |
Some people are not that interested in it, | 0:58:15 | 0:58:18 | |
but certainly... | 0:58:18 | 0:58:19 | |
..wanting a Rolls-Royce or some obnoxious car, a big house, | 0:58:21 | 0:58:25 | |
every American talks about that. | 0:58:25 | 0:58:26 | |
They're looking at Donald Trump like he's a genius | 0:58:26 | 0:58:29 | |
and nobody is more obsessed with money | 0:58:29 | 0:58:30 | |
and talking about how wealthy they are and buying stuff they don't need | 0:58:30 | 0:58:34 | |
than Donald Trump. | 0:58:34 | 0:58:35 | |
I wouldn't put that on hip-hop. | 0:58:35 | 0:58:37 | |
I'd put that on the American psyche | 0:58:37 | 0:58:40 | |
and its effect on hip-hop is that expression. | 0:58:40 | 0:58:44 | |
I would say a lot of people who embrace hip-hop | 0:58:44 | 0:58:48 | |
see business as an opportunity and an alternative | 0:58:48 | 0:58:52 | |
to whatever's in the street. | 0:58:52 | 0:58:55 | |
In other words, we didn't have a culture | 0:58:55 | 0:58:57 | |
that promoted entrepreneurship | 0:58:57 | 0:59:00 | |
except for drug dealing. | 0:59:00 | 0:59:01 | |
That's how I came to be a business guy, through selling drugs - | 0:59:01 | 0:59:07 | |
but finding hip-hop was safer, it was cool still, | 0:59:07 | 0:59:11 | |
put money in my pocket | 0:59:11 | 0:59:13 | |
so I could buy bullshit, | 0:59:13 | 0:59:15 | |
so that experience is old now. The new one is now that we have people | 0:59:15 | 0:59:21 | |
like Jay Z, like Puffy, | 0:59:21 | 0:59:23 | |
like Dr Dre, who are the image of what we can be, you know, | 0:59:23 | 0:59:29 | |
without compromising - having an idea and going out and selling it. | 0:59:29 | 0:59:34 | |
The sponsorship deal Russell pulled off with Adidas | 0:59:34 | 0:59:36 | |
for his brother's group Run-DMC | 0:59:36 | 0:59:38 | |
was a watershed moment in hip-hop. | 0:59:38 | 0:59:40 | |
Compared to his earlier life in the streets, | 0:59:40 | 0:59:42 | |
it must have seemed like an easy hustle. | 0:59:42 | 0:59:45 | |
Run-DMC rapped about the Adidas sneakers | 0:59:45 | 0:59:49 | |
and where they had been and what they represented. | 0:59:49 | 0:59:52 | |
# I stepped on stage, at Live Aid | 0:59:52 | 0:59:54 | |
# The people gave and the poor got paid | 0:59:54 | 0:59:56 | |
# Out of speakers I did speak | 0:59:56 | 0:59:57 | |
# I wear my sneakers but I'm not a sneak... # | 0:59:57 | 1:00:01 | |
The fact is that rappers chose products that they liked | 1:00:01 | 1:00:05 | |
and they did things, | 1:00:05 | 1:00:06 | |
they rapped about those products and made those products more popular. | 1:00:06 | 1:00:09 | |
# ..around together, rhyme forever | 1:00:09 | 1:00:12 | |
# And we won't be mad when worn in bad weather | 1:00:12 | 1:00:14 | |
# My Adidas... # | 1:00:14 | 1:00:16 | |
Russell paved the way for other entrepreneurs | 1:00:16 | 1:00:18 | |
to turn the skills they learned in the streets | 1:00:18 | 1:00:20 | |
into legitimate business empires. | 1:00:20 | 1:00:23 | |
# Y'all know me, still the same OG | 1:00:23 | 1:00:25 | |
# But I been low-key... # | 1:00:25 | 1:00:26 | |
Dr Dre was once part of NWA, | 1:00:26 | 1:00:28 | |
who we met earlier saying "fuck the police" - | 1:00:28 | 1:00:31 | |
but in 2014, | 1:00:31 | 1:00:32 | |
after selling his headphone brand Beats By Dre to Apple, | 1:00:32 | 1:00:35 | |
singer Tyrese posted an online video in which Dre boldly claimed | 1:00:35 | 1:00:39 | |
to be hip-hop's first billionaire. | 1:00:39 | 1:00:41 | |
They need to update the Forbes list. | 1:00:41 | 1:00:43 | |
Shit just changed! | 1:00:43 | 1:00:45 | |
-In a big way. -Oh, my. -Understand that. | 1:00:45 | 1:00:47 | |
First billionaire in hip-hop | 1:00:49 | 1:00:50 | |
right here from the motherfucking West Coast, believe it. | 1:00:50 | 1:00:53 | |
Oh! Oh, shit! | 1:00:53 | 1:00:55 | |
# I told 'em all, all them little gangstas | 1:00:55 | 1:00:57 | |
# Who you think helped mould 'em all | 1:00:57 | 1:00:58 | |
# Now you wanna run around talking 'bout guns like I ain't got none | 1:00:58 | 1:01:01 | |
# What, you think I sold 'em all? # | 1:01:01 | 1:01:03 | |
Hip-hop is now associated with such huge wealth that Forbes Magazine, | 1:01:03 | 1:01:07 | |
the Bible of the super-rich, and the creator of the Forbes rich list, | 1:01:07 | 1:01:11 | |
now publishes an annual hip-hop rich list. | 1:01:11 | 1:01:13 | |
Hip-hop is not just a musical genre, it's a lifestyle, | 1:01:16 | 1:01:19 | |
so in addition to music-related things like Beats headphones, | 1:01:19 | 1:01:24 | |
you also have things that have nothing to do at all with music. | 1:01:24 | 1:01:27 | |
Akon says that he owns diamond mines. | 1:01:27 | 1:01:29 | |
It's a pretty broad spectrum of holdings. | 1:01:29 | 1:01:32 | |
Who do you think is going to be the first hip-hop billionaire? | 1:01:33 | 1:01:36 | |
At the very top, you have Diddy, Dr Dre and Jay Z and they're all | 1:01:36 | 1:01:39 | |
a little over half a billion, up to three quarters of a billion, | 1:01:39 | 1:01:43 | |
far and away the top three in the race to one billion, | 1:01:43 | 1:01:46 | |
then after that, a long drop to Birdman, around 100-150 million, | 1:01:46 | 1:01:51 | |
then it's a mix - we've got Drake in there, Drake is the closest, | 1:01:51 | 1:01:54 | |
but there's some other names. | 1:01:54 | 1:01:56 | |
Eminem, Pharrell, people like that are doing pretty well. | 1:01:56 | 1:02:00 | |
# Mmm, yeah... # | 1:02:00 | 1:02:04 | |
Puffy, also known as Diddy, | 1:02:04 | 1:02:06 | |
currently sits at the top of the hip-hop rich list. | 1:02:06 | 1:02:09 | |
It's Revolt TV, | 1:02:09 | 1:02:10 | |
it's AQUAhydrate water, it's Sean John, it's Bad Boy, | 1:02:10 | 1:02:14 | |
it's Ciroc vodka - that's a huge part of his net worth, | 1:02:14 | 1:02:17 | |
which is about 750 million. | 1:02:17 | 1:02:20 | |
# It's big pimpin', baby... # | 1:02:22 | 1:02:24 | |
For Jay Z, it's Roc Nation, Armand de Brignac, Tidal. | 1:02:24 | 1:02:28 | |
Tidal's a really interesting one. | 1:02:28 | 1:02:30 | |
In a lavishly choreographed presentation in 2015, | 1:02:30 | 1:02:33 | |
some of the world's biggest stars | 1:02:33 | 1:02:35 | |
signed up to Jay Z's latest acquisition, | 1:02:35 | 1:02:37 | |
and artist-owned music streaming platform. | 1:02:37 | 1:02:40 | |
He bought it for 56 million | 1:02:40 | 1:02:42 | |
and took it up to now three million subscribers. | 1:02:42 | 1:02:45 | |
Those are numbers that Wall Street or Silicon Valley investors | 1:02:45 | 1:02:49 | |
would put a multiple on. | 1:02:49 | 1:02:50 | |
A year from now, it could be gone, | 1:02:50 | 1:02:52 | |
or it could be sold to Apple for 500 million. | 1:02:52 | 1:02:56 | |
So, is Dr Dre really a billionaire? | 1:02:59 | 1:03:01 | |
The final deal went down at three billion. | 1:03:02 | 1:03:05 | |
He owned, I think, 20-25% and then you've got to figure in taxes. | 1:03:05 | 1:03:10 | |
As it stands, we've got him at 710 million, not too bad at all. | 1:03:10 | 1:03:15 | |
Not too bad for a producer who made his money with gangsta rap, | 1:03:15 | 1:03:18 | |
but I think when the potential rewards are so vast, | 1:03:18 | 1:03:21 | |
it creates a conflict between hip-hop as art | 1:03:21 | 1:03:23 | |
and hip-hop as a money-spinner. | 1:03:23 | 1:03:25 | |
# Hittin' off licks in the bando... # | 1:03:25 | 1:03:27 | |
You have the hip-hop industry and you have the hip-hop community. | 1:03:27 | 1:03:30 | |
Those are two different entities | 1:03:30 | 1:03:32 | |
working for two different missions and goals and purposes. | 1:03:32 | 1:03:34 | |
You've got the hip-hop industry, | 1:03:34 | 1:03:36 | |
a billion-dollar industry, | 1:03:36 | 1:03:38 | |
and it is designed to make money off of hip-hop culture. | 1:03:38 | 1:03:41 | |
That's what it does. | 1:03:41 | 1:03:42 | |
The people who control the hip-hop industry | 1:03:42 | 1:03:45 | |
aren't necessarily in the hip-hop community. | 1:03:45 | 1:03:47 | |
In fact, they might not even give a shit | 1:03:47 | 1:03:48 | |
about the hip-hop community at all, you know what I mean? | 1:03:48 | 1:03:51 | |
Then you have the hip-hop community | 1:03:51 | 1:03:53 | |
that cares vehemently about the culture, | 1:03:53 | 1:03:56 | |
that cares vehemently about, passionately about, | 1:03:56 | 1:03:59 | |
the direction of the people. | 1:03:59 | 1:04:01 | |
It cares about oppression and Black Lives Matter | 1:04:01 | 1:04:05 | |
and all of these things, | 1:04:05 | 1:04:06 | |
but that's the community. | 1:04:06 | 1:04:08 | |
You have two different entities, and that creates conflict. | 1:04:08 | 1:04:12 | |
In the '80s, the primary consumer was black people in urban centres. | 1:04:12 | 1:04:19 | |
Public Enemy sold a lot, | 1:04:19 | 1:04:23 | |
NWA sold a lot, right? | 1:04:23 | 1:04:25 | |
People who were talking, who were somewhat intellectual, | 1:04:25 | 1:04:29 | |
NWA talking about political issues, | 1:04:29 | 1:04:31 | |
even though they were tough and wild too, | 1:04:31 | 1:04:34 | |
but smart rappers could have a career. | 1:04:34 | 1:04:38 | |
# People think they diss my person by stating I'm darkly pack | 1:04:38 | 1:04:41 | |
# I know this so I point at Q-Tip | 1:04:41 | 1:04:44 | |
-# And he states... -"Black is Black"... # | 1:04:44 | 1:04:46 | |
You get into the '90s, | 1:04:46 | 1:04:48 | |
the dominant consumer is the young white male, 15-25, | 1:04:48 | 1:04:52 | |
and they have made a choice for something that is the opposite | 1:04:52 | 1:04:56 | |
of what we were choosing when an urban black audience was the core. | 1:04:56 | 1:05:00 | |
# Rollin' down the street, smokin' indo | 1:05:00 | 1:05:03 | |
# Sippin' on gin and juice | 1:05:03 | 1:05:06 | |
# Laid back | 1:05:06 | 1:05:07 | |
# With my mind on my money and my money on my mind... # | 1:05:07 | 1:05:10 | |
That is the end of Afrocentrism | 1:05:10 | 1:05:12 | |
and the end of sort of what we call "conscious rap", really, | 1:05:12 | 1:05:15 | |
and the rise even more of drug rap and you saw more rappers who say, | 1:05:15 | 1:05:21 | |
"I was a drug dealer," whether they were or were not. | 1:05:21 | 1:05:23 | |
"I was a drug dealer - that's my persona." | 1:05:23 | 1:05:26 | |
Hip-hop culture was created to be about life, | 1:05:26 | 1:05:28 | |
to be about possibilities, opportunities. | 1:05:28 | 1:05:31 | |
Like I've said many times, | 1:05:31 | 1:05:32 | |
make something out of nothing, winning on your own terms. | 1:05:32 | 1:05:34 | |
What's hip-hop culture? The DJ, MC, graffiti writing, the dance element. | 1:05:34 | 1:05:38 | |
The fifth element of hip-hop - knowledge, that's the culture. | 1:05:38 | 1:05:42 | |
The industry is about death. | 1:05:42 | 1:05:45 | |
Death of the spirit, death of the mind... | 1:05:45 | 1:05:48 | |
..death of a culture. | 1:05:49 | 1:05:51 | |
You know, taking the MC and separating her or him away | 1:05:51 | 1:05:55 | |
from the other four elements, like the DJ doesn't matter any more, | 1:05:55 | 1:05:58 | |
the graffiti writer doesn't matter any more, | 1:05:58 | 1:06:00 | |
the b-boy or b-girl, the dancers don't matter, | 1:06:00 | 1:06:01 | |
the knowledge doesn't matter. | 1:06:01 | 1:06:03 | |
The industry is about hyper-materialism, hyper-capitalism. | 1:06:03 | 1:06:07 | |
The industry is about sex and violence | 1:06:07 | 1:06:10 | |
and drugs and this ridiculous overuse of the N-word | 1:06:10 | 1:06:14 | |
and a ridiculous disrespect for women, | 1:06:14 | 1:06:17 | |
a disrespect for gay sisters and brothers, | 1:06:17 | 1:06:19 | |
gay, lesbian, bisexual, transgender sisters and brothers. | 1:06:19 | 1:06:21 | |
It becomes a mirror of the ugliness of the larger society, | 1:06:21 | 1:06:24 | |
that's the industry. | 1:06:24 | 1:06:26 | |
# Need a brick, miss my free throw | 1:06:26 | 1:06:29 | |
# Stay away | 1:06:29 | 1:06:30 | |
# I'm in love, just like Ne-Yo | 1:06:30 | 1:06:33 | |
# Bustin' shots... # | 1:06:34 | 1:06:35 | |
What happened? | 1:06:35 | 1:06:37 | |
Why all of a sudden does everybody look like a gangster, a thug, man? | 1:06:37 | 1:06:40 | |
All of us are gangsters and thugs? Are you telling me that blackness, | 1:06:40 | 1:06:43 | |
cos that's what hip-hop really represents, people of colour, | 1:06:43 | 1:06:45 | |
even though it belongs to everyone, | 1:06:45 | 1:06:47 | |
but still the face and the body of hip-hop | 1:06:47 | 1:06:49 | |
are the same people of colour who created it. | 1:06:49 | 1:06:51 | |
Are you going to tell me that the only example of who we are | 1:06:51 | 1:06:54 | |
is we got to be gangsters and thugs and murderers and thieves and pimps | 1:06:54 | 1:06:58 | |
and prostitutes and swinging from poles? | 1:06:58 | 1:07:00 | |
That's it? That's all we are? | 1:07:00 | 1:07:02 | |
Come on, man. You know what I mean? | 1:07:02 | 1:07:05 | |
# I don't know what you heard about me | 1:07:05 | 1:07:07 | |
# But a bitch can't get a dollar out of me... # | 1:07:07 | 1:07:10 | |
I always felt that there was a major difference | 1:07:10 | 1:07:13 | |
between what I love about hip-hop | 1:07:13 | 1:07:16 | |
and what I see represented commercially about hip-hop. | 1:07:16 | 1:07:19 | |
I understand the forces in play - | 1:07:19 | 1:07:22 | |
hip-hop is a really good tool to sell stuff. | 1:07:22 | 1:07:25 | |
I get it. | 1:07:25 | 1:07:26 | |
Lots of people who don't necessarily come from the places | 1:07:26 | 1:07:29 | |
where the culture began now love the culture and love the music, | 1:07:29 | 1:07:32 | |
they love this rap music stuff, I get it. | 1:07:32 | 1:07:34 | |
So I understand why, in some ways, change is inevitable, | 1:07:34 | 1:07:39 | |
but we have to respect the root and we have to respect the core | 1:07:39 | 1:07:42 | |
and we have to respect the culture and that's what for me | 1:07:42 | 1:07:46 | |
is often missing and it is a big loss, because the culture brings | 1:07:46 | 1:07:50 | |
more empowerment and more education and more spirituality. | 1:07:50 | 1:07:55 | |
These are the things that the culture brings with it. | 1:07:55 | 1:07:58 | |
# That I'm a motherfucking P-I-M-P | 1:07:58 | 1:08:00 | |
# You need to switch over and ride with a star | 1:08:00 | 1:08:02 | |
# It'll get you far... # | 1:08:02 | 1:08:04 | |
I do worry that hip-hop is seen as some kind of money-making machine, | 1:08:04 | 1:08:07 | |
when I know it can be so powerful culturally and spiritually, | 1:08:07 | 1:08:11 | |
but I guess it's not as simple as having to come down | 1:08:11 | 1:08:13 | |
on one side or the other. | 1:08:13 | 1:08:15 | |
The world seen through the lens of hip-hop | 1:08:15 | 1:08:17 | |
has room for the body and the soul. | 1:08:17 | 1:08:20 | |
# Bitch, don't kill my vibe | 1:08:20 | 1:08:22 | |
# I can feel your energy from two planets away | 1:08:22 | 1:08:25 | |
# I got my drink, I got my music, I will share it but today I'm yelling | 1:08:25 | 1:08:29 | |
# Bitch, don't kill my vibe... # | 1:08:29 | 1:08:30 | |
If anyone really wants to understand post-Dr King America | 1:08:30 | 1:08:35 | |
and religion and spirituality, | 1:08:35 | 1:08:37 | |
I recommend you spend some time studying hip-hop. | 1:08:37 | 1:08:40 | |
# Look inside of your soul and you can find out it never exist... # | 1:08:40 | 1:08:43 | |
Hip-hop was my church, was my masjid, | 1:08:43 | 1:08:45 | |
was my mosque, was my synagogue. | 1:08:45 | 1:08:47 | |
That's what I worship at. | 1:08:47 | 1:08:49 | |
# I could say that I like a challenge... # | 1:08:49 | 1:08:50 | |
We've constantly talked about good and evil, spirituality, | 1:08:50 | 1:08:53 | |
what does the world look like after I leave this world, | 1:08:53 | 1:08:56 | |
that kind of stuff. | 1:08:56 | 1:08:57 | |
We've talked about life and death throughout hip-hop. | 1:08:57 | 1:09:00 | |
HE SHOUTS COMMAND | 1:09:00 | 1:09:02 | |
Religion and spirituality is so much intertwined with hip-hop, | 1:09:02 | 1:09:05 | |
whether it's Kanye doing Jesus Walks... | 1:09:05 | 1:09:08 | |
# Jesus walks | 1:09:08 | 1:09:10 | |
# God, show me the way because the Devil's tryin' to break me down | 1:09:10 | 1:09:13 | |
# Jesus walks with... # | 1:09:13 | 1:09:16 | |
..whether it's Mos Def, who's a devout Muslim... | 1:09:16 | 1:09:19 | |
# Even if I'm locked up North... # | 1:09:19 | 1:09:20 | |
..whether it's the Wu-Tang Clan, right, and the Five-Percent Nation. | 1:09:20 | 1:09:26 | |
# That's how it is, I could be your Noah... # | 1:09:26 | 1:09:28 | |
The Five-Percent Nation, also known as the Nation of Gods and Earths | 1:09:28 | 1:09:33 | |
and not to be confused with the Nation of Islam, | 1:09:33 | 1:09:35 | |
is a belief system which shares a deep cultural bond with hip-hop. | 1:09:35 | 1:09:39 | |
Like hip-hop, it was born in America's black inner cities | 1:09:39 | 1:09:42 | |
in the 1970s and many hip-hop artists subscribe to its mission | 1:09:42 | 1:09:46 | |
to promote knowledge of self | 1:09:46 | 1:09:47 | |
and spiritual enlightenment. | 1:09:47 | 1:09:50 | |
The whole concept of the Five-Percent Nation is this, | 1:09:50 | 1:09:53 | |
that 85% of the population out here is deaf, dumb and blind, | 1:09:53 | 1:09:58 | |
they don't know what's going on, right? | 1:09:58 | 1:09:59 | |
Then there's 10% of the population that knows that | 1:09:59 | 1:10:03 | |
and is manipulating that. | 1:10:03 | 1:10:05 | |
And there's the 5% who know who the true living god is, | 1:10:08 | 1:10:14 | |
they know what's up and they're here | 1:10:14 | 1:10:16 | |
to teach and enlighten the rest of the 85. | 1:10:16 | 1:10:19 | |
That's where the term Five-Percent comes from. | 1:10:19 | 1:10:22 | |
# Allahu Akbar... # | 1:10:22 | 1:10:26 | |
Lord Jamar of the much-respected New York rap group Brand Nubian | 1:10:26 | 1:10:30 | |
is one of the leading representatives | 1:10:30 | 1:10:32 | |
of the Five-Percent Nation within the hip-hop community. | 1:10:32 | 1:10:35 | |
# Goddamn right, the L-O-R-D, J-A-M-A-R | 1:10:35 | 1:10:38 | |
# Says peace and Allah U Akbar | 1:10:38 | 1:10:41 | |
# Back like a motherfuckin' head to crack | 1:10:41 | 1:10:43 | |
# Brand Nubian tracks are filled with black facts... # | 1:10:43 | 1:10:45 | |
Exactly what is the philosophy of the Five-Percent Nation? | 1:10:45 | 1:10:49 | |
It teaches that black man is God, | 1:10:49 | 1:10:52 | |
he's the original man on this planet Earth and that 5% | 1:10:52 | 1:10:56 | |
of the people on this planet Earth know the truth and teach that. | 1:10:56 | 1:11:00 | |
So it's literally, "We are gods"? | 1:11:00 | 1:11:01 | |
It's literal, it's a metaphor, it's everything. | 1:11:03 | 1:11:05 | |
God is not necessarily just a physical thing | 1:11:05 | 1:11:08 | |
and we in the Five-Percent Nation represent, we liken ourselves... | 1:11:08 | 1:11:13 | |
The black man is likened to the sun, the woman is likened to the Earth. | 1:11:13 | 1:11:18 | |
So when it's like, "What up, sun?", | 1:11:18 | 1:11:20 | |
it's S-U-N, not S-O-N. | 1:11:20 | 1:11:23 | |
See, a lot of people don't know that. | 1:11:23 | 1:11:25 | |
I wanted to understand how the Five-Percent Nation | 1:11:25 | 1:11:28 | |
influences hip-hop. | 1:11:28 | 1:11:29 | |
Just a lot of terminology and a lot of philosophy, even, of hip-hop. | 1:11:29 | 1:11:34 | |
The Five-Percent Nation has embroidered itself into that. | 1:11:36 | 1:11:40 | |
Even what they called b-boy stance, | 1:11:40 | 1:11:43 | |
that comes from the Five-Percent Nation, | 1:11:43 | 1:11:45 | |
cos we do something called... | 1:11:45 | 1:11:46 | |
You stand on your Truth or Square, | 1:11:46 | 1:11:49 | |
you have your right hand over your left, | 1:11:49 | 1:11:51 | |
you'd have your feet, | 1:11:51 | 1:11:54 | |
like, a 45-degree angle. | 1:11:54 | 1:11:55 | |
We're up in the jams and we're standing like that. | 1:11:55 | 1:11:58 | |
If you're God, you know what that means, you see? | 1:11:58 | 1:12:01 | |
But if you're 85, you just think that's just a cool guy standing, | 1:12:01 | 1:12:05 | |
that's just how a cool guy stands. | 1:12:05 | 1:12:07 | |
You see? Then it ended up being a "b-boy" stance, | 1:12:07 | 1:12:10 | |
but really that was the gods standing in their Truth or Square. | 1:12:10 | 1:12:14 | |
# I guess I'm like the Verbalizer for the fact I'm moving blackwards | 1:12:14 | 1:12:17 | |
# This Asiatic black man is a dog spelled backwards | 1:12:17 | 1:12:19 | |
# The maker, the owner, the cream of the planet Earth | 1:12:19 | 1:12:22 | |
# Father of civilisation God of the universe... # | 1:12:22 | 1:12:25 | |
The hip-hop was meant to empower the alpha males | 1:12:25 | 1:12:29 | |
who felt powerless at the time, who had no voice. | 1:12:29 | 1:12:34 | |
You know, who could identify with certain music, | 1:12:34 | 1:12:38 | |
but it really wasn't saying it | 1:12:38 | 1:12:41 | |
in that raw, unadulterated street, black, alpha way. | 1:12:41 | 1:12:48 | |
So who would do something that's customised for the black alpha male | 1:12:48 | 1:12:53 | |
but other black alpha males? | 1:12:53 | 1:12:55 | |
Like, no-one... | 1:12:55 | 1:12:56 | |
We were just supposed to be forgotten, you know what I mean? | 1:12:56 | 1:13:01 | |
Like... | 1:13:01 | 1:13:02 | |
We're definitely not supposed to express ourselves | 1:13:03 | 1:13:06 | |
other than in anger, | 1:13:06 | 1:13:08 | |
you know, | 1:13:08 | 1:13:09 | |
or, you know, making money on the street and all of that type of shit. | 1:13:09 | 1:13:12 | |
We weren't supposed to vocally express ourselves | 1:13:12 | 1:13:16 | |
and talk about how we saw things. | 1:13:16 | 1:13:19 | |
No-one expected that to happen. | 1:13:21 | 1:13:24 | |
Make no mistake about it, this is the black man's art form. | 1:13:24 | 1:13:28 | |
This is a black art, and although | 1:13:28 | 1:13:31 | |
all kind of people around the world can do it, | 1:13:31 | 1:13:34 | |
and some people are technically proficient at it... | 1:13:34 | 1:13:37 | |
..it's still not theirs. | 1:13:39 | 1:13:40 | |
This is still ours. | 1:13:42 | 1:13:43 | |
I could cook Italian food all fucking day | 1:13:45 | 1:13:47 | |
and be a master at it - it's still Italian food. | 1:13:47 | 1:13:50 | |
It still belongs to the Italians. | 1:13:50 | 1:13:53 | |
Is the Five-Percent Nation hip-hop's religion? | 1:13:53 | 1:13:55 | |
I don't know if I'd say religion. I mean... | 1:13:57 | 1:14:00 | |
..you know, | 1:14:01 | 1:14:03 | |
we put a spirituality into hip-hop, we put certain morals into hip-hop, | 1:14:03 | 1:14:10 | |
certain ethics, | 1:14:10 | 1:14:12 | |
you know, certain pride as being, you know, | 1:14:12 | 1:14:17 | |
especially young black males, um... | 1:14:17 | 1:14:21 | |
I think that's what we do. We help guide hip-hop... | 1:14:23 | 1:14:28 | |
..but we're definitely not the religion of hip-hop. | 1:14:29 | 1:14:32 | |
For a black man to stand up and say, | 1:14:34 | 1:14:38 | |
"I am God," | 1:14:38 | 1:14:40 | |
is almost a revolutionary idea. | 1:14:40 | 1:14:41 | |
When you think about the history of black people in America, | 1:14:41 | 1:14:45 | |
to go from being the lowest of the low to say, | 1:14:45 | 1:14:48 | |
"When I look in the mirror, I see God," | 1:14:48 | 1:14:52 | |
to me, that's a beautiful thing. | 1:14:52 | 1:14:54 | |
But I didn't agree with everything that he said. | 1:14:54 | 1:14:57 | |
This culture that we absolutely created | 1:14:57 | 1:15:00 | |
has gone on and touched and infected and empowered the globe | 1:15:00 | 1:15:05 | |
and we should be proud of that. | 1:15:05 | 1:15:07 | |
We shouldn't be trying to hold it | 1:15:07 | 1:15:09 | |
and grab it and keep it to ourselves. | 1:15:09 | 1:15:11 | |
We should be saying, | 1:15:11 | 1:15:12 | |
"Look at this beautiful thing that we have - come and share." | 1:15:12 | 1:15:16 | |
I really respect his honesty and his ability | 1:15:16 | 1:15:19 | |
to be able to just say it how he sees it. | 1:15:19 | 1:15:21 | |
I consider that to be very hip-hop. | 1:15:21 | 1:15:23 | |
There is one Five-Percent Nation member I really want to meet, | 1:15:25 | 1:15:29 | |
and he happens to be the best MC of all time. | 1:15:29 | 1:15:33 | |
'Rakim didn't show up last time I arranged to meet him, | 1:15:34 | 1:15:37 | |
'but this time, he's here before I am.' | 1:15:37 | 1:15:40 | |
-Good to meet you, my brother. -No doubt, no doubt. | 1:15:40 | 1:15:43 | |
# It's to my real ill niggas, heavyweight hitters | 1:15:44 | 1:15:47 | |
# Dough getters fifty ways to make figures | 1:15:47 | 1:15:49 | |
# My niggas, that come on the spot to feel sisters | 1:15:49 | 1:15:51 | |
# Like they hear real spitters and kids on the zigga-ziggas... # | 1:15:51 | 1:15:54 | |
One of my favourite tunes of all time, | 1:15:54 | 1:15:56 | |
one of the Eric B and Rakim tunes, In The Ghetto, | 1:15:56 | 1:15:58 | |
where you start with the line, "Planet Earth was my place of birth, | 1:15:58 | 1:16:02 | |
"Known to be the sole controller of the universe." | 1:16:02 | 1:16:06 | |
The rapping that I do, I had to work hard for that. | 1:16:17 | 1:16:20 | |
You know, I play saxophone. | 1:16:20 | 1:16:22 | |
One of my favourite, uh, saxophonists was John Coltrane. | 1:16:22 | 1:16:28 | |
And there was this joint, My Favourite Things. | 1:16:28 | 1:16:32 | |
And in the song, man, he's, like, | 1:16:32 | 1:16:35 | |
soloing through most of it, man, and... | 1:16:35 | 1:16:38 | |
..it just hit me, like, yo, that's your style, right there. | 1:16:40 | 1:16:43 | |
# Me and Eric B was coolin' at the Palladium | 1:16:52 | 1:16:54 | |
# Seen a all world covered girl I said, "Hey, lady, I'm | 1:16:54 | 1:16:57 | |
# Sorry if you're in a rush | 1:16:57 | 1:16:59 | |
# Don't let me hold ya up | 1:16:59 | 1:17:00 | |
# Or intervene or interrupt but... # | 1:17:00 | 1:17:03 | |
You know, I came up on Cold Crush 4, | 1:17:03 | 1:17:05 | |
Grandmaster Caz, Furious Five, Melle Mel, Treacherous Three, | 1:17:05 | 1:17:11 | |
Kool Moe Dee - that was my favourite MC. | 1:17:11 | 1:17:14 | |
# Telling everybody hanging out on the block | 1:17:14 | 1:17:15 | |
# It's time to wake up and check the clock | 1:17:15 | 1:17:17 | |
# Punch it | 1:17:17 | 1:17:19 | |
# I go to work... # | 1:17:19 | 1:17:20 | |
And I remember I heard this rhyme he said, | 1:17:20 | 1:17:23 | |
and it just made me look at MCing a little different. | 1:17:23 | 1:17:27 | |
He said, uh, | 1:17:27 | 1:17:28 | |
# Somebody like Kool Moe Dee | 1:17:28 | 1:17:30 | |
# MCs rate me, at the top of the key... # | 1:17:30 | 1:17:33 | |
something like that. | 1:17:33 | 1:17:34 | |
# MCs who suck, you're outta luck | 1:17:34 | 1:17:36 | |
# I got a whole book of rhymes and I ain't no duck | 1:17:36 | 1:17:39 | |
# When it come to creativity | 1:17:39 | 1:17:41 | |
# Can't none of you MCs fuck with me | 1:17:41 | 1:17:45 | |
# I got a brain like Dr Spock | 1:17:45 | 1:17:47 | |
# Huh-huh, get down with the Moe Dee Rock! # | 1:17:47 | 1:17:49 | |
I heard that shit, I was like... | 1:17:49 | 1:17:51 | |
# Each rhyme's a dissertation | 1:17:53 | 1:17:55 | |
# You want to know my occupation | 1:17:55 | 1:17:57 | |
# I get paid to rock the nation | 1:17:57 | 1:17:58 | |
# I go to work... # | 1:17:58 | 1:18:00 | |
What were you like before you were Rakim? | 1:18:00 | 1:18:03 | |
Like, what's life like, | 1:18:03 | 1:18:04 | |
when you're listening to these early rap records? | 1:18:04 | 1:18:07 | |
Coming up in the hood, being at the parks and, you know, sneaking into | 1:18:07 | 1:18:11 | |
the basement parties, getting kicked out of the, you know, | 1:18:11 | 1:18:15 | |
the motorcycle club downtown when they have hip-hop nights | 1:18:15 | 1:18:18 | |
because, you know, I'm too young. | 1:18:18 | 1:18:20 | |
But they knew I could rhyme, | 1:18:20 | 1:18:21 | |
so they sneaked me in half the time, you know what I mean? | 1:18:21 | 1:18:24 | |
That's the microphone feeling that's coming to life. | 1:18:24 | 1:18:26 | |
You know what I mean? Let him in! | 1:18:26 | 1:18:27 | |
# Cos I grabbed the mic and try to say "Yes, y'all!" | 1:18:27 | 1:18:29 | |
# They tried to take it and say that I'm too small | 1:18:29 | 1:18:32 | |
# Cool, cos I don't get upset | 1:18:32 | 1:18:34 | |
# I kick a hole in the speaker pull the plug, then I jet... # | 1:18:34 | 1:18:37 | |
I had my first gun charge when I was 11, 12 years old. | 1:18:37 | 1:18:41 | |
That's why, you know, I knew that I needed something, started studying | 1:18:41 | 1:18:45 | |
Islam, which prepared me to get in, you know, this hip-hop world, man. | 1:18:45 | 1:18:51 | |
# ..vocabulary, your verses you're stuck in | 1:18:51 | 1:18:53 | |
# The mic is a Drano volcanoes erupting... # | 1:18:53 | 1:18:55 | |
So, how did studying Islam affect you? | 1:18:55 | 1:18:59 | |
It made me a lot more conscious, | 1:18:59 | 1:19:01 | |
it made me a lot more, uh... | 1:19:01 | 1:19:03 | |
..creative, it, it... | 1:19:05 | 1:19:07 | |
..it, you know, it centred me, it made me a better man. | 1:19:09 | 1:19:13 | |
So, of course, I think, when anybody, um... | 1:19:13 | 1:19:16 | |
..you know, looks to something greater than themselves | 1:19:17 | 1:19:20 | |
to, uh, you know, see them through, man, | 1:19:20 | 1:19:24 | |
I think that's a consciousness within itself, | 1:19:24 | 1:19:27 | |
if it's Islam, if it's Christianity, if it's Buddhism, | 1:19:27 | 1:19:30 | |
you know, whatever it is, | 1:19:30 | 1:19:31 | |
as long as they know that there is something higher than them. | 1:19:31 | 1:19:34 | |
And I think that just makes us better, you know, people, | 1:19:34 | 1:19:38 | |
as a whole. | 1:19:38 | 1:19:40 | |
As I got a little wiser, | 1:19:40 | 1:19:42 | |
I picked a name that suited what I believed in, you know what I mean? | 1:19:42 | 1:19:48 | |
And Rakim, you know, Ra means Sun God, | 1:19:48 | 1:19:51 | |
Kim was another word for Egypt, | 1:19:51 | 1:19:54 | |
before it was called Egypt it was called Kimet, | 1:19:54 | 1:19:58 | |
and, you know, I put my name together from that. | 1:19:58 | 1:20:03 | |
I didn't know at the time that Rakim also means writer. | 1:20:03 | 1:20:06 | |
So, you know, things happen for a reason, | 1:20:06 | 1:20:09 | |
and I think I was blessed with, uh, having reason, man. | 1:20:09 | 1:20:14 | |
Hip-hop culture sent me, as a young man, to the library. | 1:20:14 | 1:20:19 | |
How important is it that artists actually take responsibility | 1:20:19 | 1:20:22 | |
for the words coming out of their mouths? | 1:20:22 | 1:20:24 | |
Well, the duty that I've been through, when hip-hop got, | 1:20:24 | 1:20:27 | |
you know, real... | 1:20:27 | 1:20:29 | |
real, you know, they called it gangsta, | 1:20:29 | 1:20:32 | |
gangsta rap, when it got real gangsta, | 1:20:32 | 1:20:34 | |
it was like, yo, I can't do that. | 1:20:34 | 1:20:38 | |
Like, they don't expect Rakim to, now, | 1:20:38 | 1:20:42 | |
after I've been telling you to, you know, be conscious and... | 1:20:42 | 1:20:49 | |
you know, be a better person and all these things, | 1:20:49 | 1:20:52 | |
now telling you I'm about to come up in your house, pull that thing out, | 1:20:52 | 1:20:56 | |
you know, rob the crib, tie the babies up, you know what I mean? | 1:20:56 | 1:21:01 | |
I'm like... I don't make that kind of music, you know what I mean? | 1:21:01 | 1:21:05 | |
I listen to it, I don't have a problem with it, | 1:21:05 | 1:21:08 | |
but I don't make that kind of music, man. | 1:21:08 | 1:21:10 | |
And no disrespect, but I'm going to take my music and I'm going | 1:21:10 | 1:21:13 | |
to go knock on the door next door. | 1:21:13 | 1:21:15 | |
We've spoken to a lot of people and your name always comes up, | 1:21:15 | 1:21:19 | |
and about how much you've done for hip-hop. | 1:21:19 | 1:21:21 | |
But the question I want to ask now is, what has hip-hop done for you? | 1:21:21 | 1:21:25 | |
It gave me a voice, and, um... | 1:21:25 | 1:21:28 | |
saved my life, it made my life, um, | 1:21:28 | 1:21:33 | |
you know, a lot better. | 1:21:33 | 1:21:35 | |
You know, I'm proud of who I am. | 1:21:35 | 1:21:36 | |
I get around certain people sometimes | 1:21:36 | 1:21:39 | |
and they might say, "Yo, what do you do?" | 1:21:39 | 1:21:41 | |
And I might say, "I'm a musician." | 1:21:41 | 1:21:43 | |
You know, you don't wanna tell certain people, "I'm a rapper," | 1:21:43 | 1:21:47 | |
-you know what I mean? -Because of the connotations that come with it. | 1:21:47 | 1:21:50 | |
Exactly, man. | 1:21:50 | 1:21:51 | |
So, it's like, you know, at this point, you know, | 1:21:51 | 1:21:55 | |
I'm real proud to say, yeah, I'm an MC, man. | 1:21:55 | 1:21:59 | |
I'm in the hip-hop business. | 1:21:59 | 1:22:01 | |
You know what I mean? | 1:22:01 | 1:22:03 | |
# There it is | 1:22:04 | 1:22:05 | |
# Hardcore, real ill | 1:22:05 | 1:22:08 | |
# I'm internationally known when I be on the mic | 1:22:08 | 1:22:10 | |
# Hardcore, real ill | 1:22:10 | 1:22:13 | |
# I'm internationally known, yo | 1:22:13 | 1:22:16 | |
# Hardcore... # | 1:22:16 | 1:22:17 | |
We are asking the question, | 1:22:17 | 1:22:18 | |
what does the world look like through the lens of hip-hop? | 1:22:18 | 1:22:21 | |
And one of the people who helped create that vision was Rakim. | 1:22:21 | 1:22:26 | |
It is strange for me to hear someone like Rakim say, | 1:22:26 | 1:22:30 | |
"When people ask me, I say I'm a musician," | 1:22:30 | 1:22:32 | |
because he doesn't want to say he's a rapper, | 1:22:32 | 1:22:34 | |
because of the connotations that brings. | 1:22:34 | 1:22:36 | |
But actually, that's really fucked up. | 1:22:36 | 1:22:39 | |
Because as a rapper, as an MC, as a lyricist and a wordsmith, | 1:22:39 | 1:22:43 | |
he is the greatest. | 1:22:43 | 1:22:45 | |
I consider myself lucky to have seen hip-hop evolving from | 1:22:45 | 1:22:48 | |
something people are hesitant to admit they are involved with, | 1:22:48 | 1:22:51 | |
to become a cultural powerhouse with influence that goes to the very top. | 1:22:51 | 1:22:55 | |
Something that Tupac said to me when I was at Vibe, he said, | 1:22:57 | 1:23:00 | |
"Me and Snoop, we've got five or six million listeners | 1:23:00 | 1:23:02 | |
"buying our CDs and records. | 1:23:02 | 1:23:04 | |
"Imagine if we turned them into a political army. That's power!" | 1:23:04 | 1:23:08 | |
When Barack Obama became the American President in 2008, | 1:23:08 | 1:23:11 | |
his secret weapons were social media, | 1:23:11 | 1:23:14 | |
youth culture and the power of hip-hop. | 1:23:14 | 1:23:16 | |
When you look at the ascension of Barack Obama, | 1:23:19 | 1:23:21 | |
there were elements of hip-hop that helped him to get elected, for sure. | 1:23:21 | 1:23:25 | |
Who you voting for? | 1:23:25 | 1:23:26 | |
-ALL: -Obama! | 1:23:26 | 1:23:28 | |
I said, who you voting for? | 1:23:28 | 1:23:29 | |
-ALL: -Obama! | 1:23:29 | 1:23:31 | |
I went on the road with Jay-Z, | 1:23:31 | 1:23:33 | |
Beyonce, Mary J Blige, | 1:23:33 | 1:23:36 | |
Puffy and Kevin Liles. | 1:23:36 | 1:23:40 | |
Footage of hip-hop stars speaking at rallies helped Obama's | 1:23:40 | 1:23:43 | |
campaign reach tens of millions of young voters. | 1:23:43 | 1:23:46 | |
The President's agenda was our agenda, there's no question. | 1:23:46 | 1:23:49 | |
And we travelled from city to city to city, promoting his agenda. | 1:23:49 | 1:23:54 | |
Yes, we can. | 1:23:54 | 1:23:56 | |
Thank you, and may God bless the United States of America. | 1:23:56 | 1:23:59 | |
CHEERING | 1:23:59 | 1:24:02 | |
Has the ghetto changed since Barack Obama became president, | 1:24:05 | 1:24:08 | |
anywhere in America? No, man. | 1:24:08 | 1:24:10 | |
You know, have poor people stopped being poor? No. | 1:24:10 | 1:24:13 | |
And what we need to understand | 1:24:13 | 1:24:15 | |
is that politicians don't change the world, people do. | 1:24:15 | 1:24:19 | |
The President himself recognised the power of hip-hop | 1:24:19 | 1:24:21 | |
to communicate a message eloquently. | 1:24:21 | 1:24:24 | |
The thing about hip-hop today is its spark. | 1:24:24 | 1:24:28 | |
I mean, you know, it's insightful. | 1:24:28 | 1:24:31 | |
And, you know, the way that they can communicate | 1:24:31 | 1:24:35 | |
a complex message in a very short space is remarkable. | 1:24:35 | 1:24:40 | |
That's why hip-hop is so powerful. | 1:24:40 | 1:24:42 | |
And that's why some people try to make it seem like | 1:24:42 | 1:24:45 | |
it's not powerful, like it's just entertainment, | 1:24:45 | 1:24:47 | |
because they understand the power of it. | 1:24:47 | 1:24:50 | |
Hip-hop can change, it has changed the world, but it has the ability | 1:24:50 | 1:24:54 | |
to mobilise young people in a way that nothing else can. | 1:24:54 | 1:24:59 | |
# ..with no honour | 1:24:59 | 1:25:00 | |
# My raps ignite the people like Obama | 1:25:00 | 1:25:02 | |
# The karma of the street says needs and takes | 1:25:02 | 1:25:04 | |
# Sometimes we find peace in beats and breaks | 1:25:04 | 1:25:07 | |
# Put the bang in the back so the seats can shake | 1:25:07 | 1:25:09 | |
# Rebel Cadillac music for the people's sake | 1:25:09 | 1:25:12 | |
# The people... # | 1:25:12 | 1:25:14 | |
For the last stop of my journey, | 1:25:15 | 1:25:16 | |
I'm meeting someone who really embodies the evolution of hip-hop. | 1:25:16 | 1:25:20 | |
Kevin Liles is at the top of the hip-hop tree. | 1:25:20 | 1:25:23 | |
I found him at the offices of his label, 300 Records, | 1:25:23 | 1:25:26 | |
listening to a demo from someone just starting out. | 1:25:26 | 1:25:30 | |
# It's all for the night make sure you keep the light on... # | 1:25:30 | 1:25:33 | |
Like the culture itself, | 1:25:33 | 1:25:35 | |
Kevin has come from the streets to having a voice with real clout. | 1:25:35 | 1:25:40 | |
I remember, I get a call, and Barack said, | 1:25:40 | 1:25:42 | |
"Hey, I'm coming to New York, | 1:25:42 | 1:25:45 | |
"I'm making a run for the President of the United States." | 1:25:45 | 1:25:47 | |
I dropped the phone, I had never received a call from somebody | 1:25:47 | 1:25:50 | |
to say that, "I want you to know, before I tell anybody else..." | 1:25:50 | 1:25:56 | |
When you talk about hip-hop and power, | 1:25:58 | 1:26:00 | |
I think hip-hop equals power, I think power is hip-hop. | 1:26:00 | 1:26:04 | |
I've seen it from the perspective of going from a street corner, | 1:26:04 | 1:26:07 | |
to the corner office, then to the Oval Office. | 1:26:07 | 1:26:09 | |
And you're talking about a kid who grew up in hip-hop. | 1:26:09 | 1:26:13 | |
You got a little D'Angelo in there! | 1:26:15 | 1:26:16 | |
Just do me a favour, and for our culture, | 1:26:19 | 1:26:21 | |
make sure it's not just a record, make it a movie. | 1:26:21 | 1:26:23 | |
Live it, make sure people around you live it, | 1:26:23 | 1:26:26 | |
make sure anything that's influenced by people should feel different, | 1:26:26 | 1:26:29 | |
not just about hearing the song, but what it means to you. | 1:26:29 | 1:26:31 | |
Hip-hop is in everything that we do. As long as the spirit is there. | 1:26:31 | 1:26:35 | |
I think it's by any means necessary in a lot of cases, | 1:26:35 | 1:26:38 | |
I think it's, if you don't have it, don't go without - create it. | 1:26:38 | 1:26:43 | |
You know, put yourself... empower yourself. | 1:26:43 | 1:26:46 | |
Hip-hop is a way of life. I don't think it's just a music. | 1:26:46 | 1:26:50 | |
That message you were talking about, | 1:26:50 | 1:26:52 | |
we got to make sure that that message gets across. | 1:26:52 | 1:26:56 | |
I think it would cut through a lot of the clutter out there right now. | 1:26:56 | 1:26:58 | |
Like, I'm already right there. | 1:26:58 | 1:27:00 | |
Thank you, good to meet you. Bless you. It was good, man. | 1:27:00 | 1:27:03 | |
Thank you, guys. Appreciate it. | 1:27:03 | 1:27:05 | |
'I tell everybody, hip-hop saved my life.' | 1:27:05 | 1:27:07 | |
Where I'm from, at 16 years old, | 1:27:07 | 1:27:09 | |
you're supposed to be on drugs, in jail, or dead. | 1:27:09 | 1:27:12 | |
So, you're talking about being able to change the statistic | 1:27:12 | 1:27:16 | |
into a success story. | 1:27:16 | 1:27:17 | |
I can't... That's all hip-hop to me. | 1:27:17 | 1:27:19 | |
Meeting Kevin really nails for me the journey of this culture, | 1:27:21 | 1:27:24 | |
which has come from nothing and is now so powerful. | 1:27:24 | 1:27:28 | |
Let's go take a walk. | 1:27:29 | 1:27:30 | |
It makes me realise how important it is | 1:27:30 | 1:27:33 | |
for hip-hop culture to be recognised and celebrated. | 1:27:33 | 1:27:37 | |
I always look at the world through the perspective of hip-hop, | 1:27:37 | 1:27:40 | |
and I think, in these uncertain times, | 1:27:40 | 1:27:42 | |
we all need to hear the message of hip-hop, now more than ever. | 1:27:42 | 1:27:46 | |
SHE RAPS IN ARABIC | 1:27:46 | 1:27:50 | |
You know, globally, hip-hop still does for me what it does best. | 1:27:52 | 1:27:56 | |
Which is give a voice to the people. | 1:27:56 | 1:28:00 | |
You could be anywhere on the planet and find young people | 1:28:02 | 1:28:06 | |
using hip-hop to empower themselves and get their point across. | 1:28:06 | 1:28:10 | |
# Emi lon so leko bi okada Jasper | 1:28:10 | 1:28:12 | |
# Eyin old school Isuzu Tiger | 1:28:12 | 1:28:14 | |
# Gone are the days t'olopa ma'n gba fiber... # | 1:28:14 | 1:28:17 | |
Now, looking at the world through the lens of hip-hop is like | 1:28:17 | 1:28:20 | |
looking at it through any other lens. | 1:28:20 | 1:28:21 | |
There's going to be lots of differences | 1:28:21 | 1:28:23 | |
and lots of similarities. | 1:28:23 | 1:28:24 | |
But there's one thing that I think is unique to this point of view, | 1:28:24 | 1:28:28 | |
and that is that people who have nothing matter, | 1:28:28 | 1:28:31 | |
and the stories of the voiceless are important and deserve to be heard. | 1:28:31 | 1:28:36 | |
The question is, are we prepared to listen? | 1:28:36 | 1:28:39 | |
# It's the L-O-N-D-O-N in case you were wondering | 1:28:41 | 1:28:44 | |
# London has never been the one thing it comes in | 1:28:44 | 1:28:47 | |
# Many different shapes and forms it's all things to all men | 1:28:47 | 1:28:49 | |
# Paupers and kings, they all blend in the city where the Thames is | 1:28:49 | 1:28:52 | |
# The inner cities where most of me and my friends live | 1:28:52 | 1:28:55 | |
# Is what they call the endses | 1:28:55 | 1:28:56 | |
# You try now, the rewards can be endless | 1:28:56 | 1:28:58 | |
# If you hustle and your hustle is relentless | 1:28:58 | 1:29:01 | |
# But listen, on these here Roman roads | 1:29:01 | 1:29:03 | |
# Is the souls of the people they sold, they're called old money | 1:29:03 | 1:29:05 | |
# And built parliament and bought armaments | 1:29:05 | 1:29:07 | |
# To settle all arguments they built an empire, yo | 1:29:07 | 1:29:10 | |
# They all thought that was a boost for them | 1:29:10 | 1:29:12 | |
# But them chickens coming back home... # | 1:29:12 | 1:29:13 |