Dubcnn Blog - Conan's Corner

      As the Music Editor of Dubcnn, it's fair to say I have a thorough interest in West Coast Hip-Hop. I love to talk about it, dissect it, analyze it, and, most importantly, listen to it. It's a passion that I share with all of our readers, and one that has resulted in this new blog.

Conan's Corner aims to discuss all the latest music and news in West Coast rap, while hopefully delivering a good read at the same time. Feel free to take a look at the entries, then hit me with some feedback if you feel inclined.


If you've got your own views on the topics covered, by all means take them to our forum and continue the debate. Enjoy the posts, and please continue to support both Dubcnn and West Coast MCs. Together, we've got you.

May 2008 | April 2008

May 2008

Conan's Corner: Third Edition (Wednesday May 14th, 2008)

If the last blog came off as a little negative, there’s one thing I need to make clear right now – the West Coast Hip-Hop scene isn’t devoid of unity. There are artists and producers from the area that give fans hope that a solidified region can become a reality. Firstly, let’s take a look at some of the veterans who are doing their part to promote peace.

Admittedly, it’s understandable that some West Coast OG’s take offence at the ‘New West’ title. Though I believe that it’s not intended to disparage older MCs, I can see why some might feel disrespected by the in-your-face attitude of the New West movement. One legendary West Coast artists who is far from offended by the eager proclamations of younger acts is Too $hort. I had the amazing opportunity to interview the man last year, and his take on the youths spearheading a West Coast revival was both refreshing and well articulated. “We had our shot,” said $hort without a hint of resentment. He continued, “As of now, the artists I’m looking to help out are the younger ones.” Furthermore, $hort Dawg hasn’t failed to put his money where his mouth is. The Bay Area icon has acted as a mentor to talented upstarts like The Pack and Mistah F.A.B., appearing with the latter on Snoop Dogg’s current single, “Life Of Da Party.”

Snoop is another wizened player in the West Coast Hip-Hop game, and one that has exposed the world to numerous fresh faces. From Bad Azz to Crooked I to 40 Glocc in times past, to Problem to Damani to Bad Lucc today, many of us will have heard these artists for the first time through their affiliation with the charismatic LBC native.

Nonetheless, it seems that, because of his high stature, people continually feel that Snoop could do more. When he called a West Coast peace conference in 2005 designed to dead existing feuds affecting Californian lyricists, his motives were questioned. Some dismissed it as a shrewd publicity stunt, neatly coinciding with the start of a tour with fellow L.A. superstar The Game.

Bad Lucc, one-third of the Westurn Union and a definite prospect, has been dismissive of claims that Snoop doesn’t do enough for his people. “If Snoop Dogg can put me on a record that sells 600,000 records nationwide,” he stressed, “And I can’t bubble off that, I’m not doing my job.” Snoop echoed these sentiments in an interview with this site last year: “When I put you on something… hopefully your shit is dope enough to create a fan-base for yourself to go and create your own deal!” Since said interview was conducted, Snoop has released “The Bigg Squeeze” compilation highlighting his new affiliates. Last month, he announced a West Coast Hip-Hop tour that will see New West representatives like Glasses Malone take part. While he could perhaps do more, it would be ignorant to suggest that he does nothing to preserve his local Hip-Hop scene. In other words - would the anti-Snoop legion please fall back?

As I slouch over my keyboard, I realize now that there is a lot more to be said about this topic than initially anticipated. Check out the next Conan's Corner for my take on another veteran West Coast Hip-Hop mogul; one that many are waiting on to 'bring back' the heyday we so fondly remember...
 

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April 2008

Conan's Corner: Second Edition (Wednesday April 30th, 2008)

Recently, I reviewed the latest Westurn Union mixtape for this site. I praised the release for numerous reasons: it’s consistent quality, wealth of subject matter, and impassioned production that remained defiantly West Coast in sound. One reason I felt particularly drawn to the project, however, was its overall message - one that promotes unity between West Coast artists in the hope of cultivating a thriving and profitable local Hip-Hop scene.

As an outsider looking in, I have carefully inspected what dissent has done to the West Coast. This dissent between artists is caused by many things - jealousy, competitiveness, and other issues that are undeniably more personal. However, most West Coast ’beefs’ strike me as solvable. Who here remembers why The Game and Spider feud began? The fact that many will struggle to recollect a valid reason for this dramas continued existence implies a trivial motive. The two L.A. rappers have gone back and forth for some time, and it has done nothing to further either MCs career.

Instead, it breeds one of the most troublesome, counterproductive effects of the West Coast’s internal squabbling - namely, a slash in fan support for both involved. “Hardcore” fans, as they are frequently dubbed, bear their favourite artists burdens like their own. If Spider instructs his core fan base to yell “fuck Game” at every opportunity, you’d better believe that there will be some out there that will do so. Likewise, if Game requests that his fans holler “G-Unot” at his next show, the rafters will rattle with the anti-G-Unit chant.

Dwindling fan support isn’t the only hindrance caused by an unstable West Coast Hip-Hop environment. The other is the hugely negative image it projects to the outside world. In a time where Nas and Jay-Z are breaking bread as mature adults, seeing West Coast rappers spew jabs at fellow natives behind the mic, television camera, and even keyboard, will understandably be viewed by many as inane and childish. It’s not just casual spectators that must come to this conclusion. Surely there are people at the major labels hesitant to involve themselves with West Coast artists, cautious of how these artists - representatives of their record company - will conduct themselves once signed. I hate to use another Game example, but we all know that Jimmy Iovine and Dr. Dre would have much rather kept that G-Unit/G-Unot thing behind closed doors. Former label mates publicly humiliating each other at every opportunity? It’s not just harmful to the respective artists images. It’s plain bad business.

Through my time on the Dubcnn forum community, I have come to the conclusion that there is hope for a civilized and structured West Coast. We are fortunate enough to have artists and producers posting on our site that fully support unity and are happy to congratulate one another on their accomplishments. In the next Conan’s Corner I aim to ease up on putting the negativity under the microscope, and instead look to what can be done to speed up the West Coast Hip-Hop ‘healing process.’ There are things that can be done, and shining examples that can be followed, and they should be recognized.
 

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Conan's Corner: First Edition (Wednesday April 23rd, 2008)

The Game always provokes a reaction within Hip-Hop circles. To some, he is the undisputable King of L.A., and the face of the next generation. To others, he is a name- dropping wannabe that failed to return the West Coast to its savage, N.W.A. heyday. Certain fans and critics, however, have a tendency to involve themselves more in Jayceon Taylor, the Hip-Hop headline, than Jayceon Taylor, the MC. Putting aside the “is he or isn’t he out” prison reports, and bizarre TMZ.com rants, the most successful Los Angeles rapper not to be nicknamed Snoopy recently released a track that verifies his credentials.

“Big Dreams” is the sonic embodiment of The Game – it’s feisty, brash, and decidedly West Coast in its lyricism. Wonderfully scored by Miami’s Cool & Dre, the track retains the menace of Compton through its thunderous percussion and sinewy synthesizers. From an abrupt introdution, the listener bounds into welcome familiarity. The Game’s snarl is reminiscent of previous set Doctors Advocate many confrontational moments. This is particularly notable when the MC bellows that he, “Kills tracks like AIDS – nigga, get infected!”

The chorus, whilst simplistic, is key to highlighting the artist’s continued hunger for success. A repeated chanting of, “Big dreams, dreams, dreams,” permeates. For all of the materialistic boasting that pops up – “my driveway’s sponsored by Range Rover” – it’s clear that Game wants more. It also soon becomes evident what exactly it is that his “Big Dreams” are fixated on.

Near the track’s impassioned climax, Game fittingly references New Orleans prodigal son, Lil Wayne. Much like media darling Weezy, Game has entered the Hip-Hop industry with a desire to leave a legend. The pair’s shared plight is summarized expertly by a frenzied Game, who spouts the following lines with ire:

“The DJ starts spinning, and panties get to dropping, for album number three and going Platinum’s not an option!”

The vague assumption would be that the artist is hoping for multi-platinum plaques, then. However, as Game sneered on his unforgettable entry “Higher,” “I don’t need SoundScan – I’m doing my own numbers.” The discerning listener understands that what Jayceon Taylor hopes to yield from forthcoming set L.A.X. is resounding applause. He’s hoping for the unanimous conclusion that he has entered the ranks of Rakim, 2pac, Biggie, and every other Hip-Hop icon that he has seen fit to reference throughout his flourishing career. This street single seems akin to the start of the final lap of his campaign for Hall of Fame status.

Sure, he might namedrop. He can come across as cocky. And, yes, he’s definitely ran the 50 Cent feud into the ground. These are all valid criticisms, but even the most adamant cynic would be hard pressed to suggest that The Game, for all of his foibles, isn’t compelling. At the very least, L.A.X. will be similarly enthralling. “Big Dreams” confirms that, and should help to provoke a resoundingly positive reaction towards Game’s music in the future.
 

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