Detroit vs. Everybody: Is Revenge A Bad Move?

Detroit is a city that people travel to with caution. Not only celebrities, but every day civilians certainly stay alert and keep an eye out as well. Detroit has always been known as a city to demand its respect, and take it from people when its not given to them. The motor city has bred its fair share of established artists, whether hip hop or any other genre such as Eminem, Royce Da 5'9, Big Sean, and many more. It seems Rick Ross hasn't earned the respect of the city yet, but is it possible that one song could make the city act as brash as it has been acting?

In case you haven't heard, Rick Ross was turned away from HIS OWN concert recently in Detroit. Supposedly, Ross shows up to a crowd of over 100 Detroit residents standing outside of the venue blocking his entrance. Ross had this to say on twitter about the matter: "Luv #Detroit I wuz ready to killm 2nite, heard it wuz a peace protest wit picket signs and locked gates haa." Doesn't seem to be a very disappointed man to me, but you have to question if he had already gotten paid before the actual concert occurred. It's a win/win situation if he does, not only getting paid but not having to worry about jumping around and saving your energy for a whole performance (just kidding about the jumping around part, come on, it's Rick Ross).

But I believe there is definitely more to this, if you've seen any more extended news on this, another fellow Detroit rapper Trick Trick has made a song called "No Fly Zone" featuring Royce Da 5'9. This song basically states the anger Detroit and its artists have towards artists from other areas who have not given Detroit the respect they feel it deserves. So what does this mean for the city?  What does this mean for other big time rappers?  I question this method. If you aren't making your city available or welcome to artists originating from other areas, how do you expect to get positive recognition or better the city?

This whole situation confuses me simply due to the fact that Big Sean, a known Detroit resident and representative of Detroit rap, has collaborated with Ross multiple times on his own and Ross' songs. Big Sean has also been called out on his collaborations though, most recently by Royce Da 5'9 for not calling him or showing him any love on guest verses, as Royce says in one of his latest songs "Keep It 100" off of Slaughterhouse's "House Rules" mix tape. So maybe its safe to say Sean is doing his own thing.

I've also wondered what Eminem has to do with this whole situation or if he has any say in it. We all know he is a known affiliate of Royce Da 5'9, most notably from their rap duo Bad Meets Evil. And I hope I wouldn't have to say Eminem is rather fond of Detroit. Anyways, its not in Eminem's nature to not be involved in something that includes Detroit, or really any sort of beef or diss records. Eminem built his reputation on hard hitting diss songs, but has he grown out of making them?  Or does he really just not want to be associated with the Ross incident?  Your guess is as good as mine.

Eminem or not, it seems Detroit is still laying down the law with this "No Fly Zone" policy. Trick Trick had this to say on the incident involving Ross: "All I did was teach brothers how to stand for something without being violent. What's the problem with that?  Nobody got arrested, no bloodshed, nothing wrong happened other than some people getting disappointed in not seeing what they wanted to see. For that, I apologize. But me and that man's business, is me and that man's business."

So hopefully this doesn't turn into anything bigger than what it is. Beef in hip hop has always existed, we can go back to east coast vs. west coast, Tupac vs. Biggie in that matter, but we all know how that ended. Beef can be entertaining yes, and get loads of media coverage and recognition, but Detroit is already known too well for its problems. In the long run, Detroit bettering itself and making its city available for more collaborations and things involving the community is what's going to bring this city up to its pinnacle. Its not only the artists job, but the residents, and the fans job as well to focus on the positive, and take away the possibility of any negativity directed toward it. So its safe to say we all have things we can improve on. It doesn't take being Tupac to attempt to better your area yourself, and once we realize this, we're all in for a better tomorrow.

 



           

Slaughterhouse's House Rules: The Review

In a genre of music which we call a game; a genre of music that others call a fad or "trendy" for the time being; and a genre of music that is judged constantly on its cockiness, flair, and its ways of expression, maybe a change of pace can show people what it's really all about. In the current state of true hip hop, many would argue it's not anywhere near its peak. What some grew up on...the story-telling brand, and the fun, lyrical, bouncy sort of vibe we got listening to it seems to have changed into something so braggadocios. Then along comes this group.....Slaughterhouse.

Maybe I'm a bit biased due to them being my favorites in the game, but it's very hard to argue that any other single rapper or group brings to the table what these guys do. TDE, Young Money, argue who you will, but there aren't many others who can make you feel through music like these guys. They remind you with the introspective "Offshore," in which each member continues the trend of venting in songs like we're so used to hearing. Ortiz discusses the first time meeting Crooked I and the times they've had together, Crooked talks about his grandmother passing and the hardships of coming up in the game, Royce discusses coming up and his family, and Joe goes back to his "mood muzik" self while talking about his drug addiction.

One of the most lyrical, if not the most lyrical rapper out right now, Crooked I says what is on his mind, no matter what it is. He has no problem venting about the passing of his grandmother, label issues, and growing up in the hood of LBC as he continues to show his hunger in every song. In songs like "SayDatThen," "Offshore," and "Struggle," Crook's drive has never been more evident as he is rapping like his life depends on it. And I'm pretty sure if you asked him, he'd say it was.

Royce Da 5'9 raps on this tape like there's no competition visible, and is not afraid to point out those who have shunned him as a serious emcee. In his very own track "Keep It 100," he discusses the industry, and his growth in maturity along with his still keeping it real like attitude. With both being from Detroit, he certainly shows his frustration as he singles out Big Sean as not giving him any love on songs or verses. Royce certainly does "keep it 100" on this whole tape as usual, and my personal favorite verse of his is on the intro track "House Rules," where he just goes off in proper Royce fashion while showing us a hint of a singing voice in the build up, right in the middle of his verse.

Joell Ortiz has definitely stepped up his rapping, in my opinion the difference has been evident since the release of "On The House," the mix tape pre "Welcome To: Our House." In his own choice cut, "Life In The City," Joell goes in over some hard production courtesy of Heatmakerz, discussing exactly that. Guns, drugs, hard acting gangstas in the hood-type rhymes are all accompanied by some confident rhymes and great lines like "just because you write rhymes don't mean you rhyme write, you a light high, don't jump and become a highlight." Ortiz has never always been the stand out of the group, but he's certainly one to watch with sleeper lines like the aforementioned.

 Joe Budden, the mood muzik king of course, is certainly no slouch on this project either. Besides his missing verses on some songs for some odd reason, the man himself never gives us a bad verse. He's back to his reminiscent, venting ways on songs like "I Don't Know," where he talks about growing up in the streets, how to survive, and how he is where he is now. It's hard to determine whether or not he still struggles with drug abuse, as he has in the past, as he has said. From the sounds of this project he might still be overcoming the process. Despite any issues he might have, Budden is always entertaining and I am certainly looking forward to what he has to say on the album.

Are Slaughterhouse just diss heads whose only goals are to point out the real against the fake in hip hop?  That saying may be partially right, depending on your perspective. I believe that Slaughterhouse's true goal is to just continue the culture of real, fun, lyrical hip-hop. Some would argue they still have work to do even coming up on their second major label album. I still wonder why they have so many individual songs aimed for just one member, or why they have so many songs out that exclude one member's verse. A possible aim to release material some time in the future?  Who knows. Their production value has always been a bit of a lack to me, but with one of the greatest to ever do it at the executive spot for this album, Just Blaze, maybe they'll finally get the production they deserve. We shall certainly see, look out for their album "Glass House" set for release before the end of the year.