(Photo: Neilson Barnard/WireImage for VEVO)

By Jake Rohn

Is there anything Kendrick Lamar can’t do? In a recent interview with MTV and Shade45’s Sway, K. Dot explained why he feels rapping about “molly,” which is a powder or crystallized form of MDMA often used in ecstasy pills, is one of those trends that’s popular but not necessarily cool.

“Sometimes you have the trends that’s not that cool,” Kendrick told Sway. “You may have certain artists portraying these trends and don’t really have that lifestyle and then it gives off the wrong thing. And it becomes kinda corny after a while,” he continued.

Over the past couple of years rapping about molly has become commonplace for many of hip hop’s top-selling artists. Trinidad James, French Montana, Kanye West and 2 Chainz have all made reference to the recreational drug, and, most notably, Rick Ross lost his endorsement deal with Reebok after referencing the drug in a line that was perceived by many to be about date rape on Rocko’s “U.O.E.N.O.” remix.

As if he wasn’t already everyone’s new favorite rapper, Kendrick has elevated himself to an even higher echelon by taking this stand. First of all, he went against the grain. Even in high school it is difficult for people to take a stand and say that a drug isn’t cool. When you’re a rapper it can be even harder to speak out against something that has become associated with the hip hop lifestyle. It is refreshing to see someone (especially someone of his stature) go out of his way to show that not all rappers believe this and, more important, that you can just lump all MCs into one category. It’s the type of prejudice that racists use to justify unfounded hate of other ethnic groups. When someone like Kendrick says something, people listen. There’s only a handful of rappers right now that truly set the tone for the rest of hip hop, and Kendrick is one of them.

The other thing that was impressive was how Kendrick called out the problem. He could have name-checked half of the industry and garnered himself tons of free press, but he didn’t. He did it in as classy a way as possible, without even a hint of antagonism. It was something that needed to be said, not only because molly can be dangerous, but also because, just like rapping about swag, it was just getting tired. If there is one problem in hip hop in recent years it’s MCs’ follower-like mentalities. Rapping about molly now is like using autotune in 2011, played out. Yet with autotune it took Jay-Z to make a song about it for others to fall back from it. What Kendrick just did was like Jay-Z’s “D.O.A.”

Though hip hop’s demographic has expanded in age and culture, it’s still young people that make up a significant portion of the fan base. Now they have someone to look to that isn’t some corny rapper or no-name lyricist that shows the same audacity in his actions as he does in his words.

For more log on to BET.com

(Photo: Amy Sussman/Getty Images for Mercedes-Benz Fashion Week)

By Jacob Rohn

I guess technically, you can call this a comeback. It’s been almost seven years since infamous socialite Paris Hilton released her debut album to less than stellar reviews. Now, Lil Wayne and Cash Money CEO Bryan “Birdman” Williams have signed Hilton to a deal that makes her part of the hip hop juggernaut that includes Tunechi himself, Nicki Minaj, Tyga and Drake.

What makes this move different is that Paris’ album will be mostly house music (though she does promise collabos with hip hop artists), ensuring that YMCMB’s credibility in the hip hop world — their bread and butter — remains unblemished. This isn’t the first time Cash Money has taken a risk in signing an artist that might not match their brand. Artists like TQ, Black Porcelain and even Teena Marie have all been a part of the hip hop heavy roster. But is it ridiculous to think that they would sign someone whose first album was fed to the wolves and remains a footnote in many people’s jokes? Not as much as you might think.

Though critics slammed Paris’ eponymous debut album, its numbers actually were not terrible. To date, it has sold over 200,000 copies. And with the backing of a roster full of heavy hitters, it stands to reason that Birdman thinks he can revive the gregarious heiress’ career. Here’s something else to think about. Kim Kardashian has since superseded Paris as being the “numba 1 stunna” socialite. Kim also tried her hand at music, but rather than release an entire album she tested the waters by dropping the single “Jam (Turn It Up)”…and drop it did. A critic for Yahoo said the single “was so awful it made Heidi (Montag) sound like Adele.” Damn! The writer even quipped that Kim got engaged just to make us forget about the abysmal attempt at making music. So maybe Paris can live up to the hype that comes with being a part of the all-star roster at YMCMB.

But here’s the challenge:

Paris’ relevance in pop culture has seen a serious decline since her debut album was released. She used to be reality TV gold but these days she is more like scrap metal. Her first album sold some units but, considering the budget was similar to that of a Britney Spears album, it is still in the red. Remember, Scott Storch, who was one of the hottest producers in the music industry that year, produced most of the album (the two were dating at the time). She definitely seems to have a better shot doing house music than she did as a pop “star” but the EDM community did not seem to thrilled a few months ago when she announced that she wanted to be a DJ.

Hopefully for her sake, Weezy and Nicki Minaj will help her out. But even that is no guarantee that Paris’ album will be a success. Let’s keep our fingers crossed, cause if the sophomore album doesn’t work out, the sophomore sex tape might be her only option.

For more log on to BET.com

(Photos from left: Pascal Le Segretain/Getty Images, John Ricard/BET)

By Jake Rohn

June 18 has suddenly become an important date for hip hop fans. A few weeks ago, Kanye West confirmed the release date for his latest album, the controversially-titled Yeezus. A short time later, J. Cole decided to move up the release date of his highly anticipated sophomore album Born Sinner to that same day.

You may remember back in 2007 when ‘Ye similarly went toe-to-toe with 50 Cent, pitting his Graduation album against 50 Cent’s Curtis in a move that generated about as much hype as a prizefight. Always the master of showmanship, 50 stirred the pot by announcing that he would retire if Mr. West outsold him. Rolling Stone magazine even put the two on their cover in a face off that looked like the latest UFC fight. 50 lost the battle, with Curtis selling 691,000 to Graduation’s 957,000.

Though 50 took an ‘L’ on that one, the hype garnered millions of dollars in free press including the aforementioned Rolling Stone cover and a “weigh in” style confrontation at that year’s MTV Video Music Awards.

It’s widely understood that it would be an upset of epic proportions if Cole even came close to outselling Yeezy, but both just created a palpable buzz surrounding the date, and with the hype comes the free press. After this, how many new people now know about J. Cole’s album that maybe didn’t before?

If this is not a move that is thought up by the record label, it should be. When artists that are even remotely on the same scale square off, it’s like reverse psychology on the consumer. Though the headlines pin it as a competition, the real message: Buy both!

There is no doubt that on June 18, when people go on iTunes (and, yes some will still go to the record store), they might only intend to buy one but the other will no doubt be in their mind. Afterwards, Billboard will declare a winner. But despite one of Jay-Z’s more famous proclamations, the numbers don’t tell the whole truth. Cole and Kanye will have BOTH won.

Hip hop often does not get enough credit for the entrepreneurial endeavors its artists and executives have come up with over the years and this is no different. Though the idea of big albums coming out on the same day is not new, the idea of marketing it as a competition means everyone wins.

The UFC has become one of the biggest moneymaking machines in American sports, and a big part of that success is the hype that gives the fans a narrative. And for all of the trash talk, people find someone to cheer for and against. No matter who wins, the numbers are huge. Music is no different.

The hype machine is something that has driven consumers for years, and just like with anything else, the best way to create interest is to make it competitive. Give the people a storyline and they will follow the characters.

For more log on to BET.com

(Photo: Kevin Mazur/WireImage)

By Gee King

It’s been too long since the music world got to experience a true Kanye season. Last year’s Cruel Summer run provided only a sampling of the energy we’ve come to expect when a new Yeezy project is in the air. The year before that was Watch The Throne, which presented a relatively sedated ‘Ye as he wisely followed his big brother Jay-Z’s lead and kept his outbursts to a minimum. But 2013 promises to bring the first full-blown Kanye experience since 2010’s My Beautiful Dark Twisted Fantasy and fans and critics are already beside themselves trying to figure out what to expect.

Now five solo albums deep, Kanye has mastered every aspect of his creative process with a precision no rapper has ever matched. From the mysterious international sabbaticals he takes to center his creative spirit to the Hawaii-based studio boot camp he records in, Kanye’s perfectionist quirks have consumed every detail of his creative life. Both fans and critics adore his dedication and the superior product it begets, but they also struggle to grasp the mindset of a genius who loves contradiction and controversy more than fame and fortune.

Why does he have to be such an ass? Why can’t he give interviews like a regular celebrity? Why can’t he just be happy with the money and notoriety? That’s what he wanted in the first place, right? While the Lauryn Hill’s and Dave Chappelle’s of the world fled the spotlight for the “simple life”, Kanye has spent most of his career complicating things; sacrificing his sanity to prove the insane nature of the world. The fallouts of his many infamous episodes taught him the power he holds when he speaks his truth in spite of political correctness or common sense. But what stage will he crash with his next heroic dose of truth? Or, more importantly, what does he have to say this time that will be worth his and our time?

The rants he’s been letting off at live performances since last December have given some insight into where his mind and heart are set at the moment. His pro-creative, anti-corporate sentiment is nothing revolutionary, but hearing it from one of the world’s biggest pop stars is more interesting than hearing it from scorned underground artists who never tried their odds against the mainstream machine. ‘Ye’s latest rant was against the celebrity culture that sees no issue with paparazzi stalking idols and selling gossip. “I’ma a terrible celebrity,” he shouted while performing at a private Adult Swim event. He went on to mock the notion that the purpose of his upcoming Saturday Night Live appearance was to “humanize” himself in wake of his recent run-ins with paparazzi. “At what point did I become unhuman where I had to turn myself back? Or maybe I was demonized. Maybe I was treated inhumane.”

With a baby with tabloid queen Kim Kardashian on the way, the paradox of celebrity is clearly the most pressing issue in Yeezy’s life. So we should expect an album that attacks mainstream America’s obsession with the rich and famous with a polarizing brilliance that only Kanye can provide. Sadly, the music he’s been previewing for audiences lacks the sonic and conceptual electricity that songs like “Diamonds,” “Power” and “Runaway” offered in the past. It’s too early to judge from iPhone concert-footage, but “Awesome” sounded like a step back from his latest group and solo work. To be fair, fans didn’t know how to digest 2008’s 808s & Heartbreak though in retrospect, it stands as one of his most important albums. Besides driving Mr. West’s emotional rollercoaster to it’s lowest lows, the auto-tuned album created a lane for the Drake’s and Kid Cudi’s of today while blowing the roof off of Hip Hop’s creative limits.

All of it leads back to his original mission: “I’m tryna make some music that inspires people to be the best they can be,” he told the Adult Swim audience. “And I don’t want nobody to ask nothing else of me.” As long as the music is great, it sounds like a fair deal. And a full-blown Ray J diss is non-negotiable.

(photo: John Ricard / BET)

By Jake Rohn

In a recent interview on Big Boy’s Neighborhood on Power 106 in Los Angeles, ATL rap star Future raised the ire of many while attempting to defend Lil Wayne’s lyrics on the “Karate Chop (Remix),” telling the host that he felt the controversy “brought a positive energy to the situation.” The “Turn On the Lights” rapper received a collective side-eye from the masses for something many rappers have been suffering from of late, foot in mouth disease.

Future’s full response read:

“I think overall with the whole situation, he did bring light in a positive way to what happened, even though they thought it was negative. He brought a positive energy to the situation because a lot of people don’t know, my dad didn’t even know who Emmett was. He’s thinking I’m talking about Emmitt Smith.”

He continued, “He raised awareness to people who didn’t even know who Emmett Till is to young kids who didn’t even know what happened to him. After Lil Wayne brought light to it, they had to go and do their research.”

Unsurprisingly, Future has been vilified for his comments. Did he deserve to be lambasted for his poor choice of words? No doubt. But, if you look at just that last sentence, “After Lil Wayne brought light to it, (people who didn’t know of Emmett Till) had to go and do their research.” THAT is what he was trying (and failing) to say. It goes without saying that Future could use a little training from a good publicist. It also goes without saying that Future is an adult and – well intentioned or not – should be prepared to face the consequences of his actions and words. But buried in this whole mess is the microcosm of a much broader issue: A lack of accountability when it comes to context. With so many tabloid pundits, journalists, “journalists” and gossip sites, people have gone from reporting on facts to creating them. And, in many cases, that leads to them missing the forest for the trees.

YMCMB rapper Tyga found himself at the center of a similar whirlwind of controversy after offering his point of view on Rick Ross’ now infamous “U.O.E.N.O.” lyrics. In an interview that took place shortly after Reebok dropped Rozay at the behest of protestors, Tyga said, “We’ve all got friends who have been to jail, that sold drugs or whatever. Sometimes you gotta be the voice for them people. That’s what rap is. Even with 2Pac. ‘Pac would talk about having kids, his baby mama getting on his nerves, but that stuff he was talking about he was the voice.” He went on to say, “What he said, that’s like freedom of speech. It wasn’t even his record.” And what numerous headlines read based on that response? “Tyga Defends Rape Rap.” No discussion about whether or not the lyrics should fall under freedom of expression, just enough so-called truth to attract more hits. In today’s world of predominantly online readerships, the average person typically skims through headlines and opening paragraphs, leading to an abundance of misinformation and half-truths that people use to create their own, uneducated opinion of people.

Whether either of these men bring up valid points of discussion is irrelevant because in an increasingly polarized society where everyone has an agenda, every statement is analyzed and scavenged for dirt. I guess all’s fair in love and journalism.

For more log on to BET.com.

(Photos from left: Judy Eddy/WENN.com, All Access Photo / Splash News)

By: Jake Rohn

Chris Brown and Rihanna give new meaning to the phrase “on-again off-again” with their relationship, which doesn’t seem to function unless it’s dysfunctional. The tumultuous twosome have taken to social media to throw quasi-subliminal shade at each other. While this is nothing new for anyone who has followed their rocky love affair, there are some folks that argue the superstar couple is sending the wrong message with their on-going feuding.

Rihanna drew first blood, agreeing with one of Brown’s earlier sentiments. “Settling is not an option! Nothing less than 100% loyalty, honesty, and respect!! Love ain’t for kidz #butimsleeptho,” tweeted the CoverGirl model. Chris Brown jabbed back two hours later, citing Rih Rih’s own works, tweeting, “Sometimes loving someone is too much! So loving from a distance will help everyone grow! Be blessed. Live ya life.”

Rihanna continued over the weekend, getting increasingly personal, with her “subliminally” tweeting, “IF I DROP ALL OF MY H–S FOR YOU AND WE STILL DON’T WORK OUT YOU ME SOME H–S.”  She even posted a pic of a date night setting with an anonymous companion, to which she added the antagonistic caption, “Got a thang for a King, but chu ain’t a King!!!”

As young people with an even younger fan base, Chris and Rihanna need to be more cognizant of the consequences of their actions. Social media has a lot of benefits, but it has also become a breeding ground for passive aggressiveness and public humiliation.

Public mudslinging and media-assisted insults are nothing new. In fact, if you go back a few centuries, some of the first presidential candidates would not only insult their adversary, but would slander said opponent’s wife and family (a code of ethics that even Tony Montana would not agree with). So is it really fair to single out this former young power couple? The answer is yes, because not only are they influential, but they also speak to a younger, decidedly more impressionable legion of followers than many of their celebrity cohorts.

This most recent string of unnecessarily personal attacks has come to the point where some are calling it cyber bullying. Whether or not it really is, it still sends the wrong message to young people, inferring that public mudslinging is an acceptable way to deal with conflict. This behavior, as juvenile as it may be, does have an effect on young people. In a day and age where people are committing suicide based on online rhetoric, these two have a responsibility to their fans to set an example of how to effectively solve problems through direct communication. Ask any therapist and they will tell you it’s not good to repress, but they will probably not tell you to air out the other person’s personal business under the thinly masked veil of Twitterverse anonymity.

There is no debating that the problem goes far beyond these two. Pundits, “experts” and attention seekers alike all use public forums such as social media and television to garner attention for themselves at someone else’s expense. Donald Trump recently gained days of free press simply by convincing the public he could discredit the president (which he never actually did). Chris Brown and Rihanna carry extra weight because their fan base is more impressionable. Chances are, this is not the last we’ve heard from them. Hopefully, by the time of the next make-up or breakup, they will have realized that a real conversation is worth more than a thousand tweets.

(Photo: Â Enrique RC, PacificCoastNews.com)

By: Jake Rohn

In a recent interview with AILindstrom.com, rapper Wiz Khalifa spoke out against religion in hip hop, calling it a fad. The Pittsburgh native think there should be a separation between religion and rap.

During the interview, Wiz talked about how he doesn’t even think a lot of the people talking about religion know what they’re saying.

“This is just me personally, I don’t like how much people play with religion in rap,” said the “Black and Yellow” MC. He continued, “I feel like that’s a fad that a lot of people came into and they don’t really understand really what they’re saying or doing. So, they’re playing into that because it’s popular, it’s cool, but it’s not really what the s–t’s about.”

Is Wiz right? Should there be a line drawn between rhyme and religion? The answer is no! In listening to Wiz, one might argue that even Wiz doesn’t believe that religion should be expunged from hip hop. If you read between the lines it actually sounds like his problem is more with other rappers’ ignorance than their subject matter. When he says that they “don’t really understand really what they’re saying or doing,” that sounds like a statement that goes beyond the specific topic of religion.

Hip hop, more than any other genre of music in the modern history of the world, is dependent upon authenticity. That’s why Tupac, who, by many accounts, was a walking contradiction, continues to be mythologized by millions of fans while Ja Rule, who is far less controversial, has been relegated to obscurity. Fans not only want to believe what you’re spitting, they want you to believe what you’re spitting. Religion, for better or worse, is part of the brand.

Religion undoubtedly has its place in hip hop, but just like in a debate, it’s a subject that should not be broached without the proper education. Wiz has always come off as an intelligent guy and his point is valid. But hip hop needs truth like a fish needs water, and if your truth is rooted in faith, it would negate the founding principles of hip hop to hide or lie about what makes your story worth hearing. Detractors might note that talking about religion contradicts a bulk of the subject matter that makes up a myriad of rapper’s albums. Whether or not those people want to admit it, contradictions like that do little more than hold a mirror to the listener. We’re all imperfect and we all contradict ourselves or change our minds at some point in life. One of the things that make hip hop special is that, unlike in Hollywood, flaws are exposed.

Wiz is half right in his proclamation that religion has no place in hip hop: The part about people not knowing what they’re saying. But that goes for everything, not just religion. A solid argument could be made for hip hop being the first genre to truly highlight its talent as a brand, and that brand thrives on being raw, real and representative of the vast range of human complexity. If God is part of who someone is, it would be a slap in the face of everything hip hop stands for to leave that out when it comes time to bless the mic.

For more log on to BET.com

(Photo: Daniel Boczarski/Getty Images for BET)

By Gee King

As hip hop matures through adulthood, many of the culture’s elders are growing increasingly concerned for it’s legacy. The corporatization of hip hop as a fashion and musical entity has turned the mostly Black street culture to a global force that sells products and ideas to all races. Considering the history of appropriation and whitewashing that’s affected most forms of American popular culture, it makes sense that veterans like Scarface and Killer Mike are speaking out in an attempt to stop rap music from suffering the same fate that befell rock ‘n’ roll and the blues.

“Elvin’s gon’ be the face of hip hop,” said legendary Houston MC Scarface in an interview with Hardknock TV. The Geto Boys co-founder made headlines for his blunt diagnosis of the state of the game, saying, “I feel like we losing it,” and predicting that hip hop will be a completely White culture in the near future. “I feel like the people that are in control of what hip hop does is so f—– white and so f—– Jewish and so they don’t give a f— about what the culture and the craft really is about,” Face said emphatically. Realizing the gravity of his words, Face paused to rephrase his thoughts, claiming he wanted “to be as offensive as I can f—– make it for these old-ass punks that’s running these record labels.”

Face is convinced there is a conspiracy against Blacks in the hip hop industry and he raises some strong points. “You put out f—–g records that make us look stupid. You make us look dumb. You brainwash a generation of hip hoppers with this f—–g crud.” In Scarface’s eyes, when you put White MCs next to the buffoonery that passes for mainstream hip hop, they appear to be a welcomed relief from the modern minstrel show of self-hatred, misogyny and criminality that record labels and media outlets are coordinating.

Iggy Azalea, who’s faced her fair share of racial backlash as a white Australian MC, rebutted Face’s comments with the argument that fans determine what sells just as much as the “old white men” that Face is so upset with. “It’s not old white men creating the content and it’s not old white men buying the content either,” she said matter-of-factly in her own interview with Hardknock TV. “Yes, they’re the middleman putting this out, but it’s just a bank.” Azalea feels hip hop’s new era of diversity should be celebrated and labels Scarface’s point-of-view as pro-segregation. She asks, “Why would you want to segregate cultures and races and things like this? Isn’t that where conflict has always come from in the world?”

Whether there is a conspiracy going on or not, the meteoric rises of artists like Macklemore and Mac Miller have to raise eyebrows to those who recognize the racial dynamics of the American economy. The artistic impact of white MCs is already being felt according to Killer Mike, who told the Combat Jack Show that white MCs introduced self-pity into the rap game. The “Everyday Struggle” that Biggie rapped about has turned to the suburban plight of Drake arguing with his mom and borrowing his uncle’s Phantom. But with the Kanye Wests and Kid Cudis of the world just as responsible as Eminem or Mac Miller for hip hop’s new sensitivity, the color lines are becoming so blurred it’s hard to tell who started this all in the first place. And that’s exactly what veterans like Face are most afraid of.

For more log on to BET.com

(Photo: Kevin Mazur/WireImage)

By Jake Rohn

Some of you might not be old enough to remember, but hip hop soundtracks used to be an event. Songs like the Nate Dogg and Warren G karaoke classic “Regulate” and Snoop Dogg’s “Murder Was the Case” remix made soundtracks like Above the Rim and Murder Was the Case bigger than most albums. In fact, the Murder Was the Case soundtrack was 10 times bigger than the movie itself. So where has that musical impact gone? What ever happened to the blockbuster soundtrack? It looks like Jay-Z is taking a shot at giving the genre a much needed shot in the arm.

With iTunes came the death of the motion picture soundtrack as we know it. These days they are mostly collections of old or recycled songs. At the helm of The Great Gatsby soundtrack is Jay-Z and for the first time in years it’s a soundtrack that boasts new songs like Beyoncé’s and Andre 3000’s “Back to Black,” will.i.am’s “Bang Bang” and “$100 Bill” by Hov himself. The soundtrack features an all-star list of artists like Nero, Florence and the Machine and Jack White. Now more than ever is the perfect time for soundtracks to make a comeback. Having an original song to go along with a new movie is the perfect cross-promotional tool to catapult both the film itself as well as the album. For a good example look no further than Coolio’s “Gangsta’s Paradise,” which was not only part of the soundtrack to Dangerous Minds, it became embedded in the movie’s DNA.

Though critics are predicting an underwhelming debut for The Great Gatsby, the soundtrack has already received tons of press as one of the biggest albums of the year. With a new generation that seems to have a more diverse palate for music, this soundtrack is the perfect representation of what an album should look like these days.

Gatsby might turn out to be a mediocre movie. So far the reviews are mixed. But the soundtrack is both great and diverse. It’s the perfect album to show why we need more like it. Epic movies need epic soundtracks and the Jay-Z produced Great Gatsby just might be the perfect album at the perfect time.

For more log on to BET.com

(Photos from left: Mark Davis/Getty Images for NAACP Image Awards, Frederick M. Brown/Getty Images)

By Jake Rohn

In barbershops across the country, the multi-generational argument persists with no end in sight: ’80s vs. ’90s. It’s one of those agree to disagree situations where, depending on your age, your opinion is likely to hold firm. But when it comes to finding success beyond hip hop, the MCs of the ’80s seem to be way ahead.

Mr. “Cop Killer” Ice-T is ironically making serious bank as a cop on television’s Law & Order: SVU. The other Ice (Cube) has gone from “F–k Tha Police” to becoming known to adults as “Craig” from the Friday movies and to kids as “Terrence” from the Are We There Yet? movies, and by the way, as an executive producer, Cube is making serious dough as well. LL Cool J has enjoyed great success as an actor, author and fitness icon, while Will Smith is making a run at the title of “biggest movie star on the planet.” Queen Latifah has gone from one of the first successful female femcees to being a CoverGirl and an Oscar nominee. There are some who probably didn’t even know these people used to be rappers. Even Flava Flav has found his niche as a reality TV superstar, as has Rev Run.

But when you look at the biggest stars from the 1990s, their careers off the mic didn’t bring them the lasting stardom that those icons of the 1980s enjoyed. How is that possible? In the ’80’s, hip hop was still new to most of the record-buying audience. Therefore it garnered a lot of attention (not all good). As a result, the stars of the era were more than just rappers, they were icons, soldiers, reporters and rebels. Also, because hip hop was still thought of by some as just a fad, there were less stars and the brightest ones stood out even more.

In the ’90s, hip hop exploded in popularity, but it also reached its apex of violence with the murders of Tupac and Biggie. The number of rappers in the game was 10 times what it had been a decade earlier. It produced some incredible music, but most of these new emcees were known for being just that. In an ironic twist of fate, the ’80s may have subliminally done a better job of establishing artists as a “brand,” which happens to be the school of thought instilled in today’s artists by corporations and record labels. The only difference is that, in the ’80s, the artists did it because they were rebels, whereas now they do it because corporate America breeds them that way.

In between, however, the ’90s saw new and different things from rappers. Hip hop had gone from “Fight the Power” to now being the power itself. Yet somehow many MCs of the ’90s have not enjoyed the success beyond hip hop that their predecessors from the ’80s have. Method Man and Redman had a minute and a couple of members from Onyx did some movies, but overall, the ’90s was more about the art of rap than the 2000s. Which decade was better for hip hop will have to remain the subject of heated debate, but which generation graduated the most of its players onto other things? The ’80s!

For more log on to BET.com