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April 08, 2016 - Image 6

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The Michigan Daily

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ACROSS
1 Walks, on
scorecards
4 Rehab hurdle
7 Calm
13 “Well, __-di-dah!”
14 Deli choice
15 Ducks’ home
16 Some Anne Rice
novels
18 Dupes
19 *Assist Charles
M. Schulz?
21 Completely
22 Wapiti
23 ID checker
24 “__ any drop to
drink”: Coleridge
26 Surface
32 *Free ticket given
to Target Field
players?
35 Burn soothers
38 Modern reaction
to a riot?
39 Group of species
40 *Timepiece at a
stag party?
43 Important
Philippines
export
44 Bros, e.g.
45 Fraction of a
joule
48 Not allow to
atrophy
50 “My vegetable
love should
grow / __ than
empires ... ”:
Andrew Marvell
53 *Law office?
58 Option play
option, in football
59 Home of the god
Pan
60 Beverage
sometimes
served with mint
61 Besides
62 Inning trio
63 Botched (up)
64 Model of industry
65 Put into words

DOWN
1 Failed miserably
2 Industry leaders
3 Fan letter?
4 Meaning

5 Industry leaders
6 Prepare tuna, in
a way
7 Converse, e.g.
8 Take in
9 Quaker pronoun
10 It may be skillfully
created by one
who’s all thumbs
11 Rests
12 Acute care letters
15 Eponymous
skater Paulsen
17 Ring decision
20 One putting on
an act
25 Home of
Norway’s royal
family
27 Bank holding:
Abbr.
28 Carafe kin
29 __ Tin Tin
30 Shaggy-tailed
bovid
31 First of
September?
32 Lot of trouble?
33 “A Hard Road to
Glory” writer
34 Merrie __
England

35 Plant bristle
36 French narrative
poem
37 Like some
stocks, briefly
41 Misspoke, as
lines
42 Surround
45 Rachmaninoff’s
“__-tableaux”
46 Light-sensitive
layer

47 __ spoon
49 Upholstered
piece
51 Fancy tie
52 Hotel amenity
53 Derby, perhaps
54 Some bills
55 Chances
56 Speck
57 It may be mined
58 Objective
reference

By MaryEllen Uthlaut
©2016 Tribune Content Agency, LLC
04/08/16

04/08/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, April 8, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Friday, April 8, 2016
Arts
The Michigan Daily — michigandaily.com



Well at one time, I was
saying that their legacy
hopefully wouldn’t go

down as the greatest story
never told… But we’re about to
tell it.”

The

quote comes
from T-Mo,
member
of Atlanta
rap group
Goodie
Mob, and
the legacy
in reference
belongs to
none other
than Organized Noize. “The
Art of Organized Noize,” docu-
mentary about the group, hit
Netflix a couple weeks ago,
and it takes viewers all the way
back, more than just “a couple
of years ago, to Headland and
Delowe.” This is the same
Headland and Delowe that was
“the start of something good,”
as told by Andre 3000 on
“Elevators.” In the line, Dre is
recalling the day he and Big Boi
met up with Rico Wade, head
honcho of Organized, outside
of a hair salon and impressed
him with their rhymes. Need-
less to say, Rico was a fan. He
brought them back to the dun-
geon – his mother’s basement
— and they kind of never left.

Well, Big Boi would leave for

school in the mornings (3.68
GPA students can’t miss class,
even if it means having to forgo
hearing some magic from Ray
Murray — the sonic genius
behind Organized’s produc-

tion), but Dre dropped out and
stayed around. Beatrice, Rico’s
mother, is featured in the
doc and talks about growing
immune to the music; it would
be the first thing heard in the
morning, still going strong late
into the night. After a while, it
wasn’t a bother. It just was.

Beatrice’s feature is just one

sign of how personal the doc
gets — a must-see for heads
who wait around wondering
when their favorite artists who
contributed so much to the
game will finally be displayed
in a more accessible manner,
for all to appreciate. Its candor
is its strong suit, making the
doc just as endearing as it is
informative — the story behind
“Player’s Ball,” for example,
stands out — Outkast’s first
single was actually the product
of a request from their soon-to-
be label to contribute a track to
“A LaFace Family Christmas.”
Yup, a Christmas album. So
Dre and Big Boi rapped about
the only Christmas they knew,
and with it, burst onto the
scene.

With the debut of Southern-

playalisticadillacmuzik shortly
thereafter, they felt like they
made it. And by they, I mean
the entire Dungeon Family.
Cee-Lo reminisced on the first
time he heard “Player’s Ball”
on the radio. It was while he
was at work at the airport. He
quit immediately after. South-
ernplayalisticadillacmuzik was
everyone’s first album, not just
Outkast’s: It included verses
from members of Goodie Mob,

production, start to end, from
Organized and creative input
from all. They knew they were
going to make it big — getting
onto the scene was just the
tough part.

Organized would go on

to produce some of the most
important hits of our time;
they’re the masterminds
behind TLC’s “Waterfalls.” But
no matter whom they worked
with, be it Bubba Sparxxx or
Ludacris, they stayed true to
their roots, mixing futuristic
funk with live instrumenta-
tion — their signature sound
that heavily influenced future
production conglomerates like
J.U.S.T.I.C.E. League. This is
to say, Organized remained
unapologetically southern
through it all. And though get-
ting onto the scene was tough
in general when Southernplay-
alisticadillacmuzik debuted,
this went twofold if you were
from the South — the often
neglected and still disrespect-
ed segment of the States.

Things have changed — sort

of. We currently live in an
interesting time where the
tracks that receive plaques, and
often the dances that accom-
pany them, come from art-
ists who aren’t even from the
South, yet they’re applying the
same formula understood as
birthed by the third coast. Case
in point: O.T. Genasis — of hits
“CoCo” and “Cut It” — grew up
in Long Beach, California, but
one could make the claim that
his sound is derivative of T.I.’s
trap long before affiliating it

The South’s got
something to say

LEJLA
BAJGORIC

HIP-HOP COLUMN

with, say, Warren G’s g-funk.
And though neither trap nor
g-funk captures the creative
range of either coast alone, both
subgenres can trace their ori-
gins to one of the two spaces.

The implication is that if you

want mainstream level success,
it’s now imperative to sound
Southern (only regarding song
structure though, we — or the
radio — still don’t want local
references or a country twang).
There are two points to clarify
here: One — is this really the
case, is this sound “Southern?”
And two — if so, is this a good
thing, as it puts the South on
the map as the sonic norm?

First off, the sound of any

locale, not just the Dirty, is
dynamic, fluid and always up
for debate. Being designated as
grittier than the rest, a la New
York for example, surely has an
effect on up-and-coming art-
ists from the East Coast as they
develop their sound — a self-
fulfilling prophecy if you will.

And while a cadre of Southern
crews do fit the formula (ampli-
fy the energy and braggadocio
on party cut beats while chill-
ing out on the complexity of
the lyrics) like the Ying Yang
Twins, Big Tymers and Three 6
Mafia to name a few, we quickly
run into some roadblocks that
prevent us from agreeing with
the first claim — that the pre-
dominant sound of rap is the
sound of the South.

Geto Boys immediately come

to mind: one of the primary
pioneers in incorporating the
South into the conversation
about hip hop. Hailing from
Houston, the trio (though at
one point there were many
more than three, as even Sir
Rap-A-Lot was included) not
only proved the South could rap
along with New York’s finest,
but also developed a new sub
genre of rap in and of itself. You
didn’t think Eminem was the
first to stuff his lyrics full of
shock value, often tied to horri-
fying, even homicidal, imagery
— right? But before we write
them off as some misogynists
who “condoned” mass murder,
it’s important to also bring up
their introspection.

“I sit alone in my four-cor-

nered room staring at candles.”

The line initially comes from

“Mind of a Lunatic,” about as
horrendous as horrorcore gets,
but it was cemented into the
canon of hip hop’s greatest with
1991’s “Mind Playing Tricks On
Me.” The song made it clear
that there was a range to the
South’s darkness. Geto Boys
were balanced; they spent a lot
of time soul searching, won-
dering about the roots of their
violence and the role of crooked
cops in it all. They made their
paranoia come to life for listen-
ers and gave a well-rounded
sample of what coming up in
the hoods of the South was like.

The Geto Boys make tangible

the claim that the South can
rap. But still, what about Big
Tymers and Three 6 Mafia and,
while we’re at it, even UGK –
especially Pimp C? Most of that
is, dare I say it, pretty straight-
forward:

“Smokin out, pourin up, put-

ting dick up in yo’ slut.”

There’s more than enough

to be decoded, since much of
the language and terminology
used by the artists is distinctly
Southern: Mike Jones has a fea-
ture on the same track and raps,
“Candy paint what I’m flippin
on, 84’s and vogues what I’m
tippin on.” With no attempt to
gain acceptance by the East or
West in songs like these, South-
ern artists felt the South was
a valid enough audience itself.
And so they rapped specifically
for them. And there was no
need to get multisyllabic with
the rhymes or obfuscate the
metaphors to the point of cryp-
tic confusion. So while songs
were coded, the lyrics often-
times weren’t exactly deep.
However, the South did show
up and show out every time — in

a different way — and this goes
for Big Tymers too.

Bun B too has a verse in

“Pourin Up” as well and raps,
“You outta ya league / Tryna
keep up wit the trill, you just
might die of fatigue / You can’t
carry the load, you can’t carry
the weight / Not like them boys
up out that Lone Star state.”

To put on properly for the

Lone Star State, as Bun implies,
didn’t necessitate elite lyrical
prowess. To be impressive was,
and still is, to be musical — in
production, in flow, in deliv-
ery. Many people prefer the
sounds of the South because
they’re consistently euphoni-
ous: the melody, the harmony,
the hooks. It’s not just easier
to listen to lyrically, but usu-
ally sweeter to the ear as well.
There’s an element of soul —
whether imposed through Cur-
tis Mayfield samples or created
through independent interpola-
tion — that is just as important
to discuss. If we’re going to dog
on the South for vapid, airy lyr-
ics, then it’s only fair to pick on
the East for cut-and-dried, for-
mulaic beats. Both statements
are generalizations, but both
aspects are just as important to
rap as the other. It’s about the
full package. After all, Outkast
aren’t the beloved darlings of
hip hop due to lyrics alone.
Much of their success and
standing is due to sound, i.e. is
due to Organized Noize.

So when we talk about Big

Tymers or Triple 6 as compared
to the radio-friendly hits of
today, there are similarities, but
there’s also a big difference. The
emphasis on hooks and resem-
blance in song structure holds
(a generalization easily disman-
tled through groups like Geto
Boys, Outkast and so on). But
you already know what the next
radio hit will sound like before
it’s here. To call the redundant,
recycled, soulless and unin-
spiring sound of today’s main-
stream “Southern” is to insult a
space that is more moving in its
musicality than even the mecca
that is New York. Am I imply-
ing that mass production and
capitalism have sucked the soul
out of rap? Maybe — look out for
the next piece to find out. But
more important than all else is
that we give the South its due
props for its innovation and
introspection.

When Outkast was booed

at the 1995 Source Awards
upon winning Best New Rap
Group, Andre got on stage and
let everyone know, “it’s like
this: The South got something
to say.” It’s about time they
stopped being dismissed and
started being taken seriously
and praised for their contribu-
tions — which is to say, time
they started being heard, words
slurred, coming out through
the diamonds in their mouths
and all.

If you got something to

say to Bajgoric, e-mail her

at lejla@umich.edu.

LAFACE

Remember when Andre 3000 was going to play Jimi Hendrix? Wait. .. he did?

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