B-boys on E

this is a simon reynolds article from about 10 years ago or so.


Magazine editors have a secret formula: "two things, that's just a coincidence--but three, that's a trend". Well, here's three pieces of evidence. On "Let's Get High" from his don't-call-this-a-comeback album The Chronic 2001, Dr. Dre declares " I just took some Ecstasy/Ain't no tellin what the side effects could be". In The Wire's Christmas issue, El-P of underground hip hop outfit Company Flow listed among his 1999 highlights trying Ecstasy "for the first, second, third, fourth, fifth, sixth, seventh and eighth time". And gangsta rappers Bone Thugs-N-Harmony's latest album BTNH Resurrection contains the song "Ecstasy," inspired by the group's recent introduction to MDMA. The chorus features some of Bone Thugs private slang for the E sensation: "I feel so 'Z'/I feel so ziggety ziggety ziggety/Cause I'm floatin' in ecstasy.." Bizzy's so impressed with the "new shit" touted by their weed dealer that he even wishes Eazy E, Bone Thugs's deceased mentor, "was here to feel pillish, pillish, pillish, pillish."

Add to this reports of thugs and bitches buzzing on E at the Tunnel (New York's most hardcore and "street" rap club), MDMA references in tracks by Jay-Z, Eminem, DJ Quik, Nas, Three-6 Mafia, and Saafir, and persistent rumors about a certain rap mogul who's got a serious Ecstasy habit, and you've got more than a trend--you've got a phenomenon: Hip Hop America Gets Loved Up. It's happened as a knock-on effect of the astonishing surge in Ecstasy use in America over the last two years, itself triggered by a return to reliable, high-dose MDMA pills thanks to Mitshubishi and the brands that followed in its wake. The New York Times reported a 450 percent increase between 1998 and 1999 in Ecstasy seizures by police and customs (which usually roughly reflect the amount of Ecstasy on sale on the streets). The United States Custom Service is projecting a 1500 percent increase from 1999 to 2000! For the first time since it was legal in the early Eighties, MDMA is popular outside the rave scene, with college students and yuppies throwing E parties. And finally, the drug has made significant inroads into the rap community.

On the face of it, Ecstasy would not appear to be a B-boy drug. MDMA lowers one's emotional defences, promotes feelings of trust and tactile tenderness, defuses aggression. It basically creates the exact opposite mind-body-soul state to rap's paranoid and paramilitary ego, all threats and boasts and psychologically armored readiness for the outbreak of hostilities. It also seems really unlikely that your typical gangsta rapper would enjoy exploring Ecstasy's androgynizing effects--the way it makes men more able to express their emotions, be cuddly and affectionate, talk to women without sex as the primary goal, find it difficult to achieve an erection or have an orgasm. These swoony Ecstasy effects would probably be experienced as traumatic not pleasurable--threatening sensations of weakness, softness, E-masculation. Hip hop's ethos of "keeping it real," its concern with reflecting hardcore street realities of crime and incarceration, also conflicts with rave's Ecstasy-fuelled positivity and utopian hope. This dark-tinted realism was a common attitude in the early jungle scene, which was highly influenced by hip hop values. For many Black British junglists, Ecstasy was "false," a chemical haze of unreality that didn't resonate with their harsh experience of urban life.

Judging by the Ecstasy-inspired lyrics that have emerged from rap so far, though, even MDMA can't teach an old dogg new tricks. The sexual attitudes haven't improved one bit. Dr. Dre's lyric about just dropping an E goes straight into "All these fine bitches equal sex to me/plus I got this bad bitch layin' next to me". In "Ecstasy", Bone MC Flesh rhymes about "feelin’ hot and exotic with an arced cock/ I'm feelin' too sexy for my muthafuckin self/Gotta find my bitch and I’m gonna fuck her ass to death!". There are stories floating around about major ballers and shot-callers in the rap industry who throw parties at their mansions in the Hamptons (an expensive Long Island summer home area favored by Manhattan's wealthy and famous) where Ecstasy is primarily used to get the ladies "in the mood" for multiple-partner sex. As for the violence in rap lyrics, rhymes about guns and murda have not been replaced by spiritualized Ecstasy babble about P.L.U.R. (the American raver's mantra of "peace, love, unity and respect"). Unlike with Britain's reformed football hooligans during 1988's Summer of Love, we've yet to see the emergence of the "love thug" in hardcore hip hop. Perhaps the behavioral codes are too ingrained for rave's smiley-face to replace rap's "screwface"--the menacing scowl-sneer that signifies hip hop culture's taboo on showing your teeth.

Then again, it's early days yet, and Ecstasy is such a powerful drug that it's certain to have some affects on hip hop, both as a culture and as a music. Although jungle eventually adopted an anti-Ecstasy stance (favoring the "organic", herbal highs of marijuana over "chemicals"), as a form of music it could not have existed without its precursor genre, 1991-92 hardcore rave--whose sped up breakbeats and manic barrage of samples were basically "hip hop on E," rather than a mutant form of techno. Add Ecstasy to hip hop again, and the results could be as revolutionary as the emergence of jungle out of rave. Whether as a result of Ecstasy use or just an eerily prophetic prelude, there's been a flood of rap and R&B tracks that feature techno-like sounds and riffs over the last eighteen months: Ja Rule's "Holla Holla" with its snaking, writhing riff that sounds like nothing so much as a Roland 303 acid bassline; the staccato rave-style stabs in Destiny's Child's "Bugaboo," Ginuwine's "What's So Different," and Jay-Z's "Girls' Best Friend"; the house vamps and techno pulses in countless Cash Money tracks by Juvenile, B.G., Hot Boys and Lil Wayne, all produced by Mannie Fresh (who actually worked with Steve 'Silk' Hurley a decade ago).

Most recently Timbaland, who's talked about his fondness for electronica and groups like The Prodigy, has produced three tracks that positively drip with the influence of European Ecstasy culture, if not E itself. Aaliyah's smash hit "Try Again" rolls on a burbling Roland 303; the dirge-bass riff on Jay-Z's "Snoopy Track" makes it a rap "Dominator" or "Mentasm"; Nas featuring Ginuwine's "You Owe Me" has the slinky, lurching flow of 2-step garage. Indeed two-step ought to be the logical bridge between American "urban" (radio programmer code for black) music and house culture, since it is basically UK rave embracing and absorbing US R&B. 2-step garage is where the musical advances made during 10 years of collectively living at the cutting edge of rave's drug-technology interface ("caning it", in plain English slanguage) are now being folded back into the humanist, hypersexual pop sounds that ravers originally broke with to pursue manic sexless drug-noise (starting with acid house). As such 2-step could function for black Americans as a journey in the opposite direction, an acclimatisation phase before they get into Plastikman, Basement Jaxx, or The Mover. (Well, one can only dream, eh?). Actually, Armand Van Helden has been trying singlehandedly to be that demilitarized zone/interface between hip hop and house (he's obsessed with 1989 hip-house as this lost moment of possibility) but so far with zero impact in the US. His B-boy flirtations have even counted against him in the world of American deep house, where they don't want ruffnecks coming to the party (forgiveably, perhaps, given the rampant homophobia in hip hop). House music creeps in through the back door of Lil' Kim's new album The Notorious K.I.M., with tracks based on "French Kiss" by Lil Louis and "Break 4 Love' by Raze, and a pronounced Daft Punk-y flavor to "How Many Licks?"

this is the second part of reynolds article

Finally, OutKast's late 2000 release Stankovia is the first real hip hop example, overt and acknowledged by its creators, of a marked influence from rave music and Ecstasy. Big Boi and Andre 3000 go to raves in the Atlanta, Georgia area and even did field research in London clubs. They gave Stankonia faster b.p.m's than its easy-rolling predecessor Aquemini because "nowadays you got different drugs on the scene. X done hit the hood. It ain't chronic no more. They on some other speed-up type shit.... so that's why the tempo had to get a lot faster." The single "Bombs Over Baghdad" makes a botched if exciting stab at drum'n'bass (they're big fans of Photek) while "?" is a disorientating foray into the jungle: tangled breaks, chirruping synth-blurts, ravey riff-lets.

With the E'd up thugs and thuggettes reputedly drifting from the main floor of the Tunnel into the smaller house'n'techno room that it (god knows why) offers, it could be that the hip hop nation will turn onto electronic dance music big-time, finally ending rap's contempt for house music as mere gay disco. Sonically, the differences between the two forms of music have never been smaller---for instance, both techno and rap have been influenced recently by a revival of interest in Eighties electro. As for the drug's cultural impact.... Ecstasy's "loved up" vibe fits perfectly with hip hop's endless professions of loyalty for the crew, family, click, posse. E will only exaggerate this aspect of blood-brother solidarity and "thug love". But what about the hate side of rap's soul? Can Ecstasy lead to a truce in rap's symbolic warfare? Will "call-that-a-worldview?" couplets like "all I know is that bitches suck dick and niggas bleed" (The Lox) lose their appeal to hearts that no longer feel hard? What can be said safely is that Ecstasy had seemed like a drug that held no more surprises in terms of its cultural effects, given that the clubbing-and-raving industries efficiently channel the energy it catalyzes into tidy profits (eg Gatecrasher, whose slogan is "Market Leaders In Having-It Right Off Leisure Ware"--they might as well just put "Sponsored By Mitshubishi, Nudge Nudge Wink Wink" on the ads). But now that the drug has found its way to one of the few demographic and subcultural zones it had so far left untouched---African-American youth---it could be that Ecstasy has new tricks up its sleeves, new stories to tell, new revolutions to unfurl. (Just wait 'til it hits the dancehall community in Jamaica). Watch this space.....

more generally this is a thread for speculating idly about dance/rap hybrids

and lil b as luv-fug.

main attrakionz are the ones who have taken it furthest in terms of gratuitous euphoria, which is the element of dance music that most producers are milking now. i didnt get them till i noticed what was going on in those long outros. the examples in reynolds article are quite different.

its exciting i think in the amount of territory it opens up for colonisation as well as fueling dissensus fantasies of rap 'discovering' grime/jungle/etc

i personally am not hugely interested in the trance pop rap cross over. i dont think thats the only strand worth investigating. unless you include araab muzik in that. dont know how pop he is.

i like shut up and dance and hip-house records are a lot of fun too but im not primarily intereested in that either but more about the colonisation of dance music by rap. rap records which use elements from dance music. so starting predominantly with timbaland, mannie fresh, swizz, neptunes etc i suppose, the kind of examples reynolds gives but accelerating over the last few years. clams casino sometimes uses very rushy, wooshy shivery hi-hats for example which sound vry dance even whn in a tradition boom bap pattern. im talking about a widening of the sonic palette and rhythmic template i guess although the drug angle is interesting i dont know much about it. lil b is istereesting in the context of th article