The RRHOF’s induction process is mysterious and secretive, so you don’t see the same kind of public campaigning by nominees for induction that you see in, say, the sports world. However, that doesn’t mean that the committee off 600 or so people who makes the decisions of who gets honored and who gets snubbed isn’t reading this blog post. So, with that in mind, vote for the act that you feel is most deserving of the honor in our poll below, and maybe, just maybe, Jann Wenner and his band of choosy cronies will pay heed!
Uprising: Hip-Hop & The L.A. Riots premieres on VH1 tonight at 9 p.m. ET/PT, and is the latest entry in VH1′s award-winning Rock Docs series. The documentary film, narrated by Snoop Dogg, takes a look back at the riots that occurred in the wake of the Rodney King verdict exactly twenty years ago this week, and the role that hip-hop played in both predicting and ultimately chronicling the tension between the residents of South Central and the police.
The film premiered in Los Angeles last week, and our colleagues over at VH1 News got some 1:1 time with Arsenio Hall before the film began. He detailed for us a story of how Ice Cube passed along a cassette tape to him with an early version of “F*** The Police” on it, which led Arsenio to (ultimately unsuccessfully) lobby his corporate bosses to book N.W.A. on his eponymous talk show. It’s a fascinating anecdote, and one that reflects a time that’s increasingly hard to remember, a time when hip-hop hadn’t yet fully made its way into mainstream American culture.
We also put together a Spotify playlist for you below, Music from Uprising: Hip-Hop & The L.A. Riots, which contains most of the music that you’ll hear in the documentary film tonight, songs like N.W.A.’s aforementioned “F*** Tha Police,” Ice Cube’s “We Had To Tear This Mothaf***a Up” and Dr. Dre’s “The Day The N***** Took Over,” among others.
A Tribe Called Quest dropped their second full-length album, The Low End Theory, in late September of 1991. Widely recognized as a ground-breaking work today because of the manner in which it experimentally weaved layers of sampled jazz elements into its sound-bed, the album earned a spot in Time?s All-Time 100 Albums List, was named the #154 album of all-time by Rolling Stone and was celebrated at 2007′s VH1 Hip Hop Honors. The group recalls that early chapter of their career vividly, and last week, for A Tribe Called Quest’s first joint-interview since 1998, all four members of the group spoke exclusively to VH1 to mark the 20th anniversary of The Low End Theory?s release.
For Questers, music fans and students of hip hop culture, Beats, Rhymes and Life is a must-see, but the effect it had on the lives of everyone involved in the project and the press frenzy that lingers might still be a bit misleading to the outside world. In order to help contextualize this landmark album’s impact, we spoke with MTV’s in-house hip hop expert Sway, cultural critic extraordinaire Nelson George, and international journalist Boss Lady about the resonance that this LP had then, and also now, 20 years later. And while A Tribe Called Quest appears to still be somewhat re-acquainting themselves with each other after dissolving in 1998 and wrestling with the last few years? shell-shocking chain of events, it was clear from the time we spent with them that Kamaal ?Q-Tip? Ibn John Fareed, Malik ?Phife Dawg? Taylor, Ali Shaheed Muhammed and, yes, even Jarobi White are still very much an unbreakable Tribe of brothers.
With MTV officially celebrating its 30th birthday today, music nostalgia is in the air. But for each music fan, the initial introduction to MTV’s music programming was unique and personal, and likely rouses up flashbulb memories to this very day. Speaking only for myself, that initiation process started with YO! MTV Raps.
After being on the air for almost seven years, MTV first aired YO! in April of 1988. While other television outlets like BET were showcasing African-American culture at the time, MTV, quite frankly, wasn’t really in the business of having black artists’ videos on the channel. And hip hop, specifically, was certainly not yet used as a vehicle of pop culture; if it wasn’t an indisputable, mainstream force like Michael Jackson, you probably wouldn’t see African-American artists on-air besides an occasional crossover video from Run DMC and Jazzy Jeff. Unless you witnessed hip hop music and culture bubbling within New York City’s five boroughs or other domestic regional pockets first hand (or watched Video Music Box), the genre probably hadn’t really made its way into your world yet.
From it’s inception, YO! MTV Raps curated an balance of hip hop via in-the-moment self-exploration. Since hosts Fab 5 Freddy, Doctor Dr? and Ed Lover didn’t have quite enough content to populate the show’s segments at first, videos from other genres like reggae, funk, R&B and soul were peppered-in to help hip hop’s still-developing definition expand its scope. From that fundamental, harmonious and educational coexistence came more of the same, and soon light-hearted videos like Digital Underground’s “Doowutchalike” and “Humpty Dance” were seamlessly airing beside Public Enemy’s political anthem “Fight The Power” and sonically dynamic “Passin’ Me By” from The Pharcyde, and the South’s sexually-charged posse 2 Live Crew were showcased just as much as funky artists from Queens like A Tribe Called Quest. Additionally, lyrically savvy Juice Crew member Big Daddy Kane would spin alongside the West Coast’s gangster juggernaut N.W.A., and strong female voices like Queen Latifah, MC Lyte and Roxanne Shant?: all women who didn’t need to sell sex to survive.