Somebody Scream isn’t just a music fan’s tribute to his favorite genre. Reeves does an honest, analytical job of tracing 30 years of hip-hop music history, and neatly framing the genre’s most significant sounds and images in a social, political and cultural context. From Run-D.M.C. to DMX, Reeves uncovers the deeper significance of hip-hop’s greatest acts, and the conditions their music both influenced and reflected.
In an interview with VIBE.com, Reeves, a long time VIBE contributor and former VIBE staff member, talks about hip hop’s bedfellows, Nas’ upcoming album and the artists who changed the game forever.
VIBE.COM: Do you think money ruined hip hop?
Marcus Reeves: Money doesn’t necessarily ruin it, money waters it down. There’s still some good music out there. As it is with anything, whether it’s rap or rock or movies. Any art. As long as money is heavily involved, after a while it gets watered down, and not as vibrant as it was.
Nas has changed the title of his album [Nigger]. Do you see him as a victim of the music industry? Or do you think he, and more artists like him, need to fight harder against the powers that be?
By no means is Nas a victim of the industry. He's had several gold, platinum and multi-platinum records both saying what he wanted to say and conforming to trends of the industry. But, if the rumors are true—that he's changing the name of his album's title—then I think he should take a stand and keep the title he wanted. Especially since he's trying to make a statement. Shit, I think more hip-hop artists should fight against the industry for creative freedom. The only drawback, though, is they have to be creative. So if your fight is about bringing us the same lame message of guns, drugs, and sex, you might as well tuck your tail in and keep it moving.
What do you think music is influencing young people to do today?
It’s influencing them to do nothing, really. I mean, the message is pretty much. It’s mixed messages. It’s about the whole mantra now, as it’s been for 12 years, of “keepin’ it real.” Which is really, just “Keep it street.” Which is really, just keep it thug, or keep it gangster, or keep it pimpish. Which is really just kind of ignorant.
Do you think hip-hop will come back to the Public Enemy days?
It can’t, because its already been done. And for me, I don’t necessarily want rap to be political. I just want it to be creative. Use that energy that was done back then to move it even further. You know, with Public Enemy. They really … Marley Marl really introduced hip-hop to the sampler. He took the sampling, the sampler, the machine, and turned it into a new music. … Public Enemy turned that beat-sampling into a new artform. … You can’t go back and re-do that because it’s already been done. But you can go back and look at what they did and say okay, and build on that and make something different. …
2008 looks a lot like 1988, it’s still a little different. In ’88, Jesse was running for office. Now, Barack is running for office now – and he looks like he might win – but it’s different.
What do you think of artists like Kidz in the Hall who are making songs in support of Obama?
They made songs like “Run, Jesse, Run,” back in the day. It’s all inspiration. It’s all history. It’s all a lot of inspiring people. _ A hope and a dream. …
What would you say is the last big thing … the last real significant thing to happen in hip-hop?
The last big thing … I think Jay-Z. You had Biggie, which was the last one, basically, to get killed. But Jay-Z took his concept of ghetto fabulousness and just really made it powerful and popular and significant. He really made that – what Biggie wanted to do – he made that really reality. After Jay-Z, it’s pretty much you know, people coming in and selling their lives and their hardships and their music reflects it. It’s all story but no talent; no real talent or art to just move you.
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