Responses to the Editorial on 'Who is Responsible for the Death of Urban Music' 05/02/2008 08:07   Quite a few responses came in on the op-ed piece we ran earlier this week on "Who is Responsible for the Death of Urban Music". Regarding "the death or urban music"...Amen to that! The writer who put this list together nailed it! People need to raise the bar and expect more. Chris Perry------------- I applaud the person who wrote this. All 25 items are on point. I am from "back in the day" as a drummer, entertainer, and now a radio host. I got so sick and tired of hearing what they call today, urban, r&b,soul, rap, hip hop, and whatever else discriptions they give it. The sorry state of Urban Music as we have come to know it today was just killing me. Even though I have a huge record collection of great music from many R&B Soul, Funk artists from "back in the day". Sometimes, the only music I can acess is what is on the radio. "Oh my god please, is this what I have to listen to"? I have to do something, and I mean now! I went to two commercial radio stations here in my home town of Denver Colorado and asked them to let me do a music show that will fill a HUGE void in R&B radio programming in this city. They told me there was no audience for it. About a year later, I approached a public radion station, jazz89 KUVO 89.3 FM. They not only agreed with my sentiments but gave me a late time slot to do a show. In the two years I have been on the air, the show has generated a national and international audience, and is now being syndicated on both terrestrial and internet radio stations, including, THE URBAN NETWORK! The show is called A Funk Above The Rest! We play the "old funk" - the "new funk" - the "everything in between funk". Yes, the time has come to get back to real URBAN MUSIC on the radio. Actually, I mean...well, you know what I mean! Skip The Funktologist www.afunkabovetherest.com Ps. Listen to A Funk Above The Rest on Urban Network Internet Radio saturdays from 4pm-7pm. -------------------------- I could not resist responding after viewing the Op-Ed piece regarding Urban Music. I can say I was nodding in agreement to just about everything presented in the article. Although, I am a Gospel Music fan, I grew up appreciating all types of music. There were so many things I agree with, I will not try to go over every small detail, but, I will say how much the REAL Urban Music has been commercialized and "watered down" to please the masses. Now, I am not qualified to judge any artist and the hard work he/she has put into their product. But, I remember a time when, as the article mentioned, you were able to hear a variety of music types. I am not saying the "old school" is the only way, because, there has to be innovation and growth within any industry. The problem starts when the foundational aspects of hard work, talent development and a basic understanding of rudimentary musical elements are substituted for general audience appeal and the "dollar" becomes the only motivation. I really enjoyed the article and I am sure there will be a wide variety of opinions. Let me end by presenting a hopeful wish. I wish there will be an emphasis returned to Urban Music that does away with the acceptance of mediocrity and a "push" towards getting back to real development. I am not able to present my argument from the perspective of an individual who is experienced in the music industry. I am speaking from the mind of a fan who wants to see a return to solid foundational concepts. Troy Gordon--------------- I'm glad somebody is speaking out about the music industry. I rather listen to my old cassettes when I used to stay up late at night when I didn't go out to the club and catch the real DJ cutting it up. Even though I wasn't there, the sound was real because it wasn't somebody else's song that was being mixed on two turntables. All the music that was playing came from the artist who actually recorded it. I'm tired of some artist getting press for a hot track that was made famous by the original artist. I'd rather hear the original artist's version instead. Some people say these older artists should quit and stop performing. I say as long as you still sound good, do it. At least the older artists have a [fundamental] understanding of the music. There are a few new artists that do believe in good music--it's sad that it takes myspace to find them but thankfully myspace exists. God Bless, Gloria aka Boss Ladi--------- Your list is extremely insightful. I would only add one additional separate category...Fame! The problem today is people would rather be famous even more than be rich! The list is so deep we are drowning in it. People will do anything for that shout-out-- except being the very best that they can be! Our society has become absolutely shameless! Keep telling the truth. Vernon Slaugher-------------- Man, did you nail this one. To that list you should also add “Major Labels”. In fact, put them at the top of the list. At the height of the “gangsta rap” movement, most of the acts they signed had little or no formal music training. I read a recent interview with Rick Ross in Murder Dog. He sounds like an idiot. That these so-called artists refuse to acknowledge there’s any difference between “nigga” and “nigger” only goes to points out their ignorance. Why is it all about money and not about education? Rick got lucky, but for every Rick Ross there’s fifty other high school drop-outs who think that, just because they can buy ProTools, they can become an artist. Not so. One can never fake art. But back to the labels. Nearly all are run or owned by wealthy white men or mainly white multi-national corporations. OK, granted, that’s the way the rest of the world is too. But wouldn’t you think there would be someone inside these corporations that had some semblance, respect, or first-hand knowledge of African American culture? Classic R&B is treated like laundry detergent, with a “new improved” package every year. The real money is in the pornographic swill that passes as music, which they purposely market to our kids. Meanwhile, their kids are safe from drugs and violence because they can afford to live in gated neighborhoods. Their kids won’t catch a bullet instead of a bus, on the way to school. So they hire a few of “us” to make it look “real”. But in the end, our musical heritage has been co-opted, stolen, pimped, and marginalized by these corporate carpetbaggers. Anonymous