Where

The Pageant

When

Sun. Jan. 29, 6 p.m. (door 5 p.m.)

Price

$22

You may know him as Rev. Run’s preteen son who terrorized “Run’s House,” but Diggy Simmons is trying to make a name for himself. After releasing his first mixtape, “The First Flight,” in 2009, Diggy garnered buzz across the Internet and the industry. This buzz then translated into a record deal with Atlantic Records.

The 16-year-old’s second mixtape “Airborne” dropped in 2010, preceded by the song “Oh Yeah,” which featured Lupe Fiasco and Pharrell Williams. All of this left fans thirsting for Diggy Simmons’ debut album. In 2011, Diggy was featured on two tracks: Dionne Bromfield’s “Yeah Right” and Mindless Behavior’s “Mrs. Right,” which became a top-10 R&B song.

Finally, over the summer, Diggy released his first major-label single, “Copy, Paste.” While not a runaway hit, the song did peak in the top 30 of Billboard’s hip-hop charts. Simmons then released his second single, “Do It Like You,” featuring Jeremih, in the fall.

While his debut album, “Unexpected Arrival,” does not yet have a release date, Diggy is raising buzz through large touring efforts, including the Scream Tour with Mindless Behavior. This weekend, however, Diggy will be performing solo at The Pageant, right on the Delmar Loop. Will Diggy blow up to become the next big thing? Walk on down to The Pageant on Sunday and decide for yourself.

The premise of the article “Will the racial divide in hip hop end?” is unfounded and the entire piece is poorly researched. First, a basic Google search of the artist Kreayshawn would quickly illuminate the fact that one of the major reasons that she is called out for “exploiting black culture” is because she and the rest of the White Girl Mob have chosen to ostracize themselves from the (majority black) hip hop scene by using the “n-word” in lyrics and through social networking. To add injury to insult, Kreayshawn herself has defended this choice by claiming that poor upbringings and jail time give her and her friends the right to use a word that continues to be used by non-black people to diminish and demean black people.

The author then complains about the fact that “other [non-black, non-male rap] artists need a qualifier.” I would agree that being “othered” is unfair. Racial minorities, members of the LGBT community, people with disabilities and countless others are “othered” every day of their lives, usually without a choice. In contrast, it appears that Kreayshawn has placed the othering (in this case) “white” qualifier on herself by calling her group White Girl Mob. She has chosen this identity because it is controversial, and regardless of whether she has skill or talent, it is this blatant parody and appropriation of black culture that makes her marketable and interesting.

It is ridiculous that this article utilizes a quotation from Donald Trump to prove that most white rappers must suffer a comparison to Eminem. Donald Trump is not a music critic. Out of the endless music magazines and newspapers that have reviewed Mac Miller’s mixtapes, the author chose to instead use a quote from someone with no association with contemporary hip hop culture to justify the article’s central point.

Finally, what exactly is the “stigma” of being a white rapper? Eminem has continued to enjoy success and heavy fan support, regardless of the criticism that has followed him throughout the years (which I would argue is mainly focused on his at-times violent and misogynist lyrics). Kreayshawn also seems to benefit from the attention generated by this “stigma.” And there are hundreds of artists who are involved in the hip hop community who get ahead based on their talent rather than sympathy generated by those who believe in a white-rapper “stigma.”

Yasmin Boakye

Universal Beatz removed an Israeli and two Palestinian hip-hop artists from the roster of performers for its Middle Eastern Hip-Hop Week.

Organizers cut the performers following protests over the inclusion of Marvin Casey, a St. Louis native who converted to Judaism and immigrated to Israel.

“I think it is too bad that something that was supposed to bring people together …turned political and ended up causing more conflict,” sophomore Lizzie White said.

According to Universal Beatz member Nick Wilbar, the goal of Middle Eastern Hip-Hop week was to connect students on the Washington University campus with the Middle East. The group wanted both Middle Eastern communities and the St. Louis community represented in the event.

“I think that all different perspectives should be allowed to be represented regardless of background,” junior Rebecca Salisbury said.

The conflict began when one of the event’s sponsor’s, the St. Louis Palestine Solidarity Committee (PSC), discovered that the Israeli performer was affiliated with Jewish Agency for Israel—an organization that helps American Jews immigrate to Israel—and threatened to withdraw its support.

PSC officials said that the Jewish Agency for Israel prevents non-Jews—Palestinians in particular—from being able to live freely in Israel, and that including Casey in the event would signify the University’s supporting what they consider the “Apartheid” taking place in Israel.

“We felt we needed to speak out against Casey’s participation,” PSC representative Sandra Tamari said. “We felt he was acting as an official of the Israeli state and would therefore fall under the boycott guidelines.”

“It’s not about not agreeing with Marvin [Casey] as a human being,” said Anna Baltzer, another representative from the PSC. “It’s about providing a platform for an institution promoting the discrimination of a race.”

In a press release sent out last Thursday, The Jewish Community Relations Council of St. Louis and St. Louis Hillel at Washington University condemned the proposed boycott.

“Boycotts oversimplify the [Israeli-Palestinian] conflict to a myopic view which ignores Israeli policies and efforts to promote negotiations and improve the situation on the ground in the West Bank and Gaza Strip,” wrote Jacqueline Levey, Hillel CEO and Batya Abramson-Goldstein, executive director of the St. Louis Jewish Community Relations Council. “Boycotts stifle creative and constructive efforts to promote dialogue, peace and reconciliation between Israelis and Palestinians, which was the goal of the U.S.-Mideast Hip-Hop Exchange Week.”

When two of the Palestinian performers, known as BiRD and Sharif “The Truth,” threatened to drop out of the event if Casey was included, the organizers decided to rescind the invitations to all three performers.

At this point, the PSC officially withdrew its support for the event.

Nicole Lopez, Universal Beatz president, expressed her frustration due to the controversy.

“We know there’s a lot of political debate in the Middle East, but we were trying to approach these politics from a more alternative perspective and shift the focus from politics,” Lopez said. “I think it just shows the need for stuff like this to happen.”

Lopez said that while the group regrets dropping any of the performers, it was put in a difficult, lose-lose situation, and the decision was made to preserve the group’s neutrality.

“Were we complying with a boycott? No, we were trying to save our event,” Lopez said. “The whole point of the event was to bring two sides together, not support one side or another.”

Salisbury agreed that by rescinding the invitations, Universal Beatz made a move to avoid conflict.

“In some ways it shows that they are not able to show both perspectives, but it also shows that they are trying to avoid this type of conflict and trying to discourage this type of conflict,” Salisbury said.

Universal Beatz is a hip-hop group created earlier this year by senior Nicole Lopez after her semester abroad in Jordan last year.

The hip-hop week received funding from SU Treasury and the College of Arts & Sciences.

The Cold War Kids are a four-person American indie rock band hailing from southern California. They have released two albums and are currently producing a third.

Shwayze, formerly known as Aaron Smith, is a rapper from California who has released two albums and has collaborated with other rappers including Chris Young and Cisco Adler.

Normally, Team 31 only brings performers from outside the Washington University community to perform on the main stage at W.I.L.D. This year, however, Team 31’s executive board decided to give the opening spot at W.I.L.D. to the winner of last week’s DJ battle, a contest won by sophomore Jeremy Klein.

According to sophomore Zack Whitacre, co-chair of Team 31, the DJ battle is a new concept intended to incorporate student talent into the W.I.L.D. lineup.

“We know that there are several very good DJs on campus who are just as good as those that we can bring from off campus,” he said. “We wanted to showcase student talent at W.I.L.D.”

Normally, Battle of the Bands is held the day of W.I.L.D. and the winner gets to play W.I.L.D. This year, both the DJ and band battle winners will play W.I.L.D.

The decision to add a new student participant to the show does not come as a result of budgetary constraints, but rather from a desire to save money to put toward next year’s W.I.L.D.

“It is nice to be able to put Wash. U. talent on display and also be able to save some money and put it toward fall W.I.L.D.” Whitacre said.

Klein is looking forward to playing W.I.L.D. and anticipates an enthusiastic crowd.

“I have a lot of friends that support me every time I DJ and come out and dance their faces off,” Klein said. “I hope they can spark that in the crowd.”

Typically, fall W.I.L.D. has a rap artist and spring W.I.L.D. is rock-based, but Team 31 decided to combine the two this semester.

“[Team 31] discussed whether it should be a rock-based show in the spring,” Whitacre said. “It should really just be the best artists you can get at the best possible price.”

Team 31 co-chair and sophomore Laura April shared similar sentiments about mixing the genres at W.I.L.D.

“We’re both really excited because they’re different genres,” she said. “We think it’s a really diverse lineup. We’re really happy about that—hopefully it will bring a lot of different people out.”

Students had mixed reactions to the W.I.L.D. announcement.

“Shwayze is a good choice even though [he is] not as well known, but that shouldn’t be a problem because not many people knew Passion Pit last semester, but almost everyone enjoyed them,” freshman Mofit Marsh said.

Sophomore Jasmine Glasper felt similarly about the artists’ popularity.

“I know Shwayze, and it seems OK,” she said. “Team 31 could have done worse with the picks, but I liked the music during the fall, and W.I.L.D. is a good place to hang out with friends.”

Team 31’s spring W.I.LD. lineup was a letdown for other students.

“I’m a little disappointed,” senior Melissa Legge said. “I wish it was someone as fun as The Cool Kids or George Clinton.”

Some students felt that although the chosen artists are good performers, Team 31 could have gotten more prominent acts.

“I know Shwayze and Cold War Kids are going to be exciting,” freshman Claudia Gambrah said. “Fall W.I.L.D. was my first one here at Wash. U., and it was a good experience. I’m indifferent about the picks, but they definitely could have done better with other artists.”

Many students go to W.I.L.D. for the experience of attending a concert with their peers.

“I’m going to have a good time,” senior Colleen Davis said. “If it were a band I detested, I’d be more disappointed. Even though I like the Cold War Kids, I’m going for the experience.”

April believes that students unfamiliar with the artists will become fans.

Sophomore Catie Gainor is looking forward to hearing the Cold War Kids and to a relaxed atmosphere.

“I like Cold War Kids, but I feel like it’s going to be more relaxed than other W.I.L.D.s because the Cold War Kids are more chilled out,” she said. “I prefer that kind of atmosphere at big outdoor events. It gets crazy when it’s that [crowded and] insane. It’s a lot more fun when I’m not afraid of getting trampled. I’m excited.”

The 16 members of Team 31’s executive board contracted the artists last week after a lengthy selection process.

Initially working with a producer and Entertainment St. Louis, a talent agent, Team 31 submitted a list of 50 to 60 artists that they were interested in booking. The agent then informed the team as to which entertainers were available. Finally, the executive board came to a decision about whom to book.

According to Whitacre, planning for fall W.I.L.D. will commence the Friday following spring W.I.L.D.

Spring W.I.L.D. will take place on April 30, the last day of classes in Arts & Sciences.

Hip-hop artist and actor Common will give the Martin Luther King Jr. Memorial Lecture at 7 p.m. Monday in Graham Chapel. The Martin Luther King Jr. lecture is an annual event sponsored by the Association of Black Students.

“The MLK symposium is an ABS tradition, and by extension it’s a Wash. U. tradition,” said Tiffany Johnson, the president of the Association of Black Students. “We try to bring someone who will get the campus excited…we want their work and their lives to be consistent with Martin Luther King’s work.”

Common, formerly known as Common Sense, has won two Grammies and been nominated for multiple others, but it’s his mix of music, philanthropy and community work that Common’s talk will highlight. As a member of the “conscious” hip-hop movement, Common focuses much of his music on social issues, often working with artists such as Lauryn Hill and Kanye West.

“He’s a staple in terms of hip-hop, and he’s transcended that genre and become prevalent throughout Hollywood,” Johnson said. “He does a lot of work with literacy and empowering youth…He’s very much an example to the community, whether they are black or white, about activism in the community.”

Common has also written numerous books geared to a young audience, including “The Mirror and Me” and “I Like You but I Love Me” aimed at raising self-esteem. Common’s acting career includes “Date Night,” “Just Wright,” “American Gangster,” “Street Kings” and “Terminator Salvation.”

The visit was moved up from its originally scheduled date on April 6.

You really shouldn’t read this. I’d stop right now. Seriously, don’t go any farther. You won’t listen to me? OK, let’s see what you’re in for.

Rap music has more haters than Lex Luthor. My parents and grandparents tell me that it’s just noise. The incessant and mind-numbing bass almost brings the ears to bleeding. The overload of profanity drowns out any potential meaning in the lyrics. The artist simply barks into the microphone. Scratch that, calling rappers “artists” grants them some sort of capacity for creativity. Talent is not a factor in the formula for rap music.

I always defend hip-hop against these harsh contentions. I insist that the doubters simply don’t have fair evidence for their arguments. It is more than acceptable to dislike rap music. Just don’t listen to some of the trash that the rap domain produces and then consider it representative of the entire genre. Yet too many rappers these days make it harder and harder for me to defend hip-hop music.

So why shouldn’t you read this article? Because my primary task is (was) to review two new rap EPs: V.I.C.’s “The Vanity” and GS Boyz’s “Booty Dew.” For some reason, I volunteered for the job, but not until later did I realize why.

I must admit, I wouldn’t even be writing this article if I were only reviewing the two soundtracks. I have an ulterior motive, provoked by the garbage that is “The Vanity” and “Booty Dew.” I suppose, first and foremost, I should complete my assignment. So let’s power through it.

The GS Boyz (of the famed “Stanky Legg”) and V.I.C. (of the well-known “Get Silly”) sure do go to incredible lengths to sabotage my defense of rap music. What the *hell* is “booty dew” anyway? Let’s go the most reliable source for such a question: Urban Dictionary. According to the lexicon of slang, “booty dew” is when “your stomach sticks out farther then your booty do.” But I’d have to agree more with the third entry on Urban Dictionary: It’s “a song and dance by the G-Spot Boyz from Dallas, Texas…[that] is insanely simple and could probably be performed by a total nincompoop. If the song weren’t so d— catchy, it would be completely stupid.” Quite simply, the song is incredibly brainless. I feel stupider for having listened to it. The rhyming is dreadful. The beat is obnoxious. I suppose the best features of the EP are the second and third tracks, the former without lyrics and the latter without instrumentals. It’s that terrible.

And now, let’s take a look at V.I.C.’s “The Vanity,” featuring J. Futuristic. Three tracks comprise the EP: the single “Say Bow,” the edited version and the instrumental. Once again, imposters seem focused on demolishing my defense of rap music. First of all, I cannot even understand what V.I.C. is saying in this song. He raps like a dog with peanut butter stuck to the roof of its mouth. After finally deciphering the blabber, I regretted having done so. Somebody needs to explain to V.I.C. the definition of a rhyme. For example, V.I.C., you cannot rhyme a phrase with the exact same phrase, and “mattress” and “married” might be the closest you come to a successful rhyme. Once more, rap music takes a serious hit to its legitimacy.

So now I can get to my hidden agenda. With every release of music like these two new EPs, the passion in my defense of rap music decays. I’m honestly scared that with the constant infusion of such music in the hip-hop scene—and even on the radio—the volume of those rappers that do have talent and do produce quality music will eventually reach a state of silence. The rappers of today need to show the same kind of soul and passion that Tupac, Notorious B.I.G., Jay-Z and OutKast have revealed. I understand that such talent is rare, but simply dumbing down to the noise of the GS Boyz and the idiocy of V.I.C. is a cop-out move that only benefits the haters. So to all the rappers trying to make it big, I wish you could hear me. The fame of a catchy club hit is guaranteed to flame out sooner rather than later, and the rap game will burn because of it. I will always defend rap music, but not like I used to. Nowadays, I inch closer and closer to the side of my parents, grandparents and all the haters. And for that I have no one to blame but the rap game itself.

Sophomore Celso White, senior John Huang and junior Monis Khan never expected that a simple discussion they had about hip-hop on campus last April would develop into such a large event. After the dissolution of Wash. U.’s chapter of Hip-Hop Congress, a club that promoted social and political awareness through hip-hop, the students sought to revive this form of dialogue on campus.

“A lot of people see hip-hop skewed by the media as talking about rapping and getting money. I really wanted to go back to the true essence of hip-hop that started back to when it was first developed,” Huang said. “It was…about political action and just expressing yourself through music, attitude, dance, artwork and everything.”

They came up with the idea to bring Rap Sessions, a travelling panel of prominent hip-hop scholars, to speak on the question “Is America Really Post-Racial?” at Wash. U.

“Their faces don’t pop out at people like Kanye West or Jay-Z…but these people are well respected in their fields,” White said.

In addition, White, Huang and Khan, who are separately involved in WuSlam, WuCypher and Drop Knowledge, thought of ways that their individual clubs could contribute to the event. With the goal of fostering cultural awareness and uniting people through hip-hop, the students reached out to a variety of organizations, including Eleven Magazine and Team 31.

“I thought this was a good opportunity for us to re-establish that umbrella organization for all the student groups on campus, especially because there’s been a lot of new hip-hop-oriented groups,” Huang said.

Beginning in September, weekly meetings were held to coordinate activities for Hip-Hop Against Hunger. As the students explained, each campus group involved follows hip-hop in its own way and thought up unique contributions for the week.

The diverse expressions of hip-hop can be seen in the final list of events, which includes an open-mic night, a dance workshop, a graffiti show, a freestyle competition, a fashion show and a bboy/bgirl dance-off. Hip-Hop Against Hunger will culminate in a hip-hop festival on Nov. 14, featuring The Paxtons, iLLphonics and RJD2.

Click schedule to view a larger version

“We’re trying to go back and visit all the four elements of hip-hop: break dancing, DJ-ing, graffiti art and MC-ing,” Huang said.

While Hip-Hop Against Hunger will take place on the Wash. U. campus, the students want it to impact the greater St. Louis area. The events are open to everyone with the hope that others will join in on the celebration of hip-hop.

“A big thing that appeals to me about hip-hop is about the community, like how hip-hop can bring about camaraderie and just bring a group of people together under a united interest,” Huang said.

Hip-Hop Week will also give back to the local community through donations. All proceeds from the festival will go to Operation Food Search, a St. Louis food bank, and there will be donation bins for canned food at the events.

By involving the St. Louis community along with many campus groups, the founders of Hip-Hop Week hope that this event will occur annually.

“We just want to explain to everyone the essence of [hip-hop], where it came from, and how it’s going to blow up,” White said.

First things first: pronunciation. The name is TAH-lihb QUA-lee. A notably “socially-conscious” rapper hailing from Brooklyn, New York, Kweli began bending the minds of the public with his lyrics in mix tapes in the 1990s. He gained notoriety in his collaboration with Mos Def on the album “Black Star” in 1998 but released his first solo album, “Quality,” in 2002, followed by “The Beautiful Struggle” in 2002 and “Eardrum” in 2007. He has collaborated with such big names as Dave Chappelle, Kanye West, Jean Grae and even Ben Kweller. We have the incredible honor of welcoming this lyrical genius to the Wash. U. campus this weekend.

What is dubbed rap and hip-hop music can get a bad rap: much of the genre that we see in the mainstream is criticized as shallow, empty and materialistic. Admittedly, I agree with most of these criticisms. But what I love about rap is that it makes people nervous: With its crude language, street-smart and unrelenting vocals and controversial themes ranging from angry expressions of social anxieties to X-rated sexual innuendo, all backed by an often jarringly jittery beat, the music attacks the listener. Talib Kweli exemplifies that sonic assault by actually saying something pertinent, but also keeps with the party atmosphere in his beats.

Sadly, most people experience only the tip of the iceberg when it comes to rap and hip-hop. Commercial radio is dominated by tunes that are undoubtedly catchy, danceable and fun, but usually deliver a less than substantive message (not that “Superman that ho” isn’t totally useful).

After Tupac and Biggie died, rap lost its power; it used to focus on beats, music and the overall style of dancing and rhythm rather than the pimp/gangsta/swagga and bling-bling of our era. What’s great about TK is that, like partners The Game, Kanye West and Common, he flexes his lyrical muscle to reflect the issues surrounding us. His music makes people stick their hands in the air like they just don’t care—and think at the same time.

That said, he absolutely has the admiration of his “brother” Jay-Z, as on “The Black Album” he gives props to TK in a widely-known lyric: “If skills sold, truth be told/ I’d probably be, lyrically, Talib Kweli.” Even to Jay-Z, if lyrical dexterity sold records, TK would be top of the charts.

So now that this musical maverick is coming to campus, what should we do to adequately prepare ourselves for the evening to come? If you aren’t already familiar with his music, listen up. He kicks proverbial ass with his first solo album, “Quality,” produced by a medley of artists including Kanye, Mos Def and The Roots. Though the themes throughout aren’t too cohesive, flawless lyrical quality is backed by wicked beats.

Of course, there’s “Get By,” his infamous party song (involving sex, weed and drinking) yet also emphasizing that “We keeping it gangsta say ‘fo shizzle’ ‘fo sheezy’ and ‘stayin’ crunk’/ It’s easy to pull a breezy, smoke trees and we stay drunk/ Yo our activism attackin’ the system, the blacks and Latins in prison/ Numbers of prison they victim black in the vision.” The track is produced by Kanye and is unquestionably catchy, referencing everything from Norman Mailer to The Beatles. “Waitin’ for the DJ” is also radio friendly, and “Guerilla Monsoon Rap” is smart but thuggish at the same time. Give the album a shot.

If you liked “Get By”, pick up “The Beautiful Struggle.” “I Try” featuring Mary J. Blige is definitely a song to hit. It has similar piano riffs and beats, and TK continues with his crazed rhymes. The album’s title track, “Beautiful Struggle,” is also wonderfully worthy of a head bob. “The revolution’s here…I heard it’s said the revolution won’t be televised/ But in the land of milk and honey there’s a date you gotta sell it by/ Otherwise it just expires and spoils.” He curses politics and laughs in the faces of those who identify the problems and do nothing about them. Sound familiar in this election season?

Lastly, I’ll suggest a couple of tracks to check out on his album “Eardrum,” which straddles the line between maintaining underground ties and giving into the business of music that is all about the Benjamins. Tune in to “NY Weather Report,” which will give you a detailed meteorologists’ report of how it feels to be brought up in New York.

No doubt the most “W.I.L.D.-ready” track on the album is “Hostile Gospel Part 1 (Deliver Us)”: it is practically the greatest club rap track to come out of the year 2007. He makes it impossible for you to tear your attention away from him. Toward the end, as he calls out different institutions on their flaws, he wants to “plead the fifth, can’t trust a soul in the biz.” Anyone with such disdain for systematic institutions definitely gains points in my book.

The point? Get pumped about W.I.L.D. We are in for a fantastically crafted performance, both musically and lyrically. Talib Kweli shows that you don’t need backup dancers and an entourage to be a great rapper. You need a quick enough mind to keep up with an even faster tongue, and a deep appreciation for those in whose footsteps you follow. He is bound to show us the way he does it and certainly gain our respect in the process.