Don't push them 'cause they're close to the edge

By Saul Austerlitz

B-boy college boys ignite Yale's vibrant hip-hop scene beyond a disco inferno.

In the last year, a realization has overcome the American media—namely, that hip-hop has succeeded rock as the quintessential American music. Originating more than 20 years ago as a hybridization of diverse musical styles in New York City, hip-hop has become the music of choice for a generation that has seemingly grown tired of played-out rock attitudes.

The tremendous critical and commercial success in the past year of Lauryn Hill and Jay-Z has cemented the notion of hip-hop, and its culture, as much more than a passing musical fad. Any genre that can include the lyrical gymnastics of Black Star, Busta Rhymes's carnival sideshow antics, and DMX's thug life manifestoes has reached a critical mass of diversity within its ranks.

MC Bulldog

Hip-hop has permeated the cultural fabric of our nation at every level, but how much has hip-hop penetrated the Ivy walls of Yale?

Much more than you think. Many aspiring MCs and DJs lurk within the Yale ranks, and many more are dedicated to hip-hop culture. Earlier this year, a forum on hip-hop was held at the African-American Cultural Center, and the audience embodied the passion that dedicated fans of hip-hop bring to the subject. The scorn so forcefully propelled at hip-hop by its detractors has united diverse groups of people and those who believe in its power to change lives.

Issa Colson, MC '99, an MC and host, with Mario Sampson, of "The Raw Essence" on WYBC 1340 AM, believes that hip-hop has still not fully blossomed at Yale. "Any sort of culture you want is expressed here," he said. "But everybody's so busy. It's hard for anything to catch on."

Colson has worked on refining his MC skills during his four years at Yale, but he has not performed much. "I've been trying to permeate the Yale campus with some hip-hop, but hip-hop is a spontaneous thing. I don't think the atmosphere is really to the point where I'd just throw a show together with some friends."

Colson comes from a musical background; his parents are both jazz musicians, and his father played with trumpeter Olu Dara, better known as the father of the man who would like to rule the world: rapper Nas. Colson compares hip-hop to jazz in its ability to encompass elements of diverse musical styles. "Hip-hop's emphasis on lyricism provides huge potential for profound statements, whether it's a revolutionary mindset or whatever the MC would like to express. The disadvantage is that it doesn't leave much to the imagination if everyone's concentrating on getting money. There's a tendency toward the lowest common denominator of catchphrases and brand names, so people will recognize it and sing along."

Colson's show, "The Raw Essence," combines avant-garde hip-hop with live performances by aspiring MC's and political commentary. The show hints at a greater trend felt everywhere hip-hop goes--that it has grown up, becoming a respectable art form. There is no returning to hip-hop's infancy, for better or for worse.

Colson's own musical tastes run toward the old school, including rappers such as KRS-One, Big Daddy Kane, Rakim, and Kool G Rap, and counter to the recent gangsta rap resurgence. "Gangsta rap rejects America's power structure, while embodying an eye-for-an-eye mentality that characterizes America," Colson explained. Nonetheless, he believes that hip-hop music has become crucial to any serious discussion of American popular culture circa 1999. "Hip-hop, since its beginnings, has been the quintessential American music. In terms of expression, and the culture from which it emanates, it embodies America."

Baggy shorts and all

Dan Levy, CC '00, is a concert promoter and a well-known hip-hop enthusiast, as anyone who attended his Berkeley Solenoid Society lecture last year can attest. He promotes concerts not only in home state of Idaho, but also at Yale. Levy believes that a strong Yale hip-hop scene exists. "Every one of my friends likes hip-hop," he said. "I even made half of my friends through our mutual love of hip-hop. I have unqualified love for anything and everything remotely related to hip-hop."

While the scene may not express itself to the fullest, the interest in whatever events that do take place hints at greater things for the future. The beefed-up presence of hip-hop culture raises interesting questions for Levy. "Culture means a lot of things. If you are part of hip-hop culture, do you answer the phone in a hip-hop way? Do you cook in a hip-hop way? Do you make love in a hip-hop way?"

Levy has always been interested in rap music, since he was eight years old and first heard the rap group Run DMC. But he was partially held back by the provincial attitude taken toward hip-hop in Idaho. "If you liked anything remotely hip-hop, you got called a wigger," he said.

He finds that this attitude is still true to an extent, despite the fact that it seems surprisingly out of date, considering that 70 percent of hip-hop albums are bought by whites. Levy's dream is to have a hip-hop conference at Yale next year, bringing together stars, fans, and academics to discuss the current state of the culture.

Street cred

The status of hip-hop was discussed earlier this year at a forum held at the African-American Cultural Center. Unsigned rappers, including some from Yale, performed at the forum. Prominent guests included Smokey Fontaine, music editor of The Source, a popular hip-hop magazine, and Carl Ford, a video producer who has worked with prominent hip-hop artists like Puff Daddy. A sizeable crowd attended the forum, which was composed of both curious and hardcore Yalies and members of the New Haven community. "Everyone was amped to be there and ask questions, and to be able to talk about the issues," Jesse Orleans, PC '01, said. Orleans believes hip-hop is currently thriving at Yale, because in "any place with a minority community, it'll be there."

Orleans mentioned the presence of talented aspiring MC's such as Ibrahim Abdullah's, MC '00, Society Ill, as well as DeAnthus Cowell, TC '01, and Brandon Gay, CC '02. "People care about hip-hop as a cultural movement. The outsider would be surprised by the level of analysis [on sight at the forum]."

Matt Stewart, ES '00, is a member of one Yale band that has been influenced by hip-hop, the Y-Bomb. He characterizes his band as not strictly hip-hop, but he admits, nevertheless, that the Y-Bomb is "pretty much what hip-hop is all about--getting funky." A compliment he received after one recent show was that his band sounded like "Dave Matthews meets the Wu-Tang Clan," although he rushed to point out that it was only the Wu-Tang Clan comparison that brought a smile to his face.

The Y-Bomb features a harder-edged brand of music--its central hip-hop influences are countered by a strong interest in early Metallica. Stewart lives in suburban Maryland, where hip-hop had an enormous influence when he was growing up. It helped shape his personal musical taste and determined the type of music that his band plays. The Y-Bomb plays covers of two Snoop Doggy Dogg songs, "Tha Shiznit" and "Deep Cover," plus the Pharcyde's "Otha Fish." "Yalies are pretty supportive of our band," he said. "But I wouldn't say there's much of a hip-hop scene here."

Hip-hop has become so influential that, by now, it is too widespread to be confined to any individual, group, or philosophy. This is a positive development; it means that hip-hop, like rock, has become truly universal. Where hip-hop goes in the future is unknown, but one thing is clear: many Yalies can't wait to find out.

Photos of Issa Colson, MC '99, Deanthus Cowell, TC '01, and Brandon Gay, CC '02, by Julia Tiernan.

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