I remember LL from as far back as the movie, “Krush Groove.” The infamous scene where he bust into the audition with Jam Master Jay, Rick Rubin, Jekyll and Hyde and they told him no more artists. LL motioned to signal, “I’m not trying hear what you saying.” and turned to his hype man, I believe it was B, holding the Boom Box and yelled ‘BOX.’
He was so intense that Jam Master Jay reached for his gun. But LL kept rocking and won them over in a matter of seconds because he spit Hip Hop. That’s the true essence of hip-hop, digging deep and producing something that you love. LL’s kick in the door mentality is what many have forgotten in hip-hop.
We sometimes forget on whose shoulders we stand. I saw a young LL in rare footage from Ralph McDaniel’s Video Music Box Archives; his energy was pure and he was genuinely grateful and elated to be not only in the presence of Uncle Ralph but to have finally made it to Video Music Box. He stated, “I know I made it if I’m on Video Music Box.” And he was right. LL has defied what a rapper from Queens is expected to accomplish. Father Time has granted LL a career to be studied. He grew up in front us and became the GOAT. The ultimate test of time I’m sure for him as well is after you cross over do country music, host the Grammy’s, get nominated for daytime Emmys, star in a few movies, can you still rep that mic on your arm?
What I have seen looking in was remnants from a young LL doing what he loved and recognizing that he has grown into a formable man under the umbrella of Hip Hop. He couldn’t shake his love of lyrics and hardcore tracks and surely he can’t live without his radio. The unsung hero on the project was Bimmey Antney, whom LL referred to as the Quarterback.
It was Bimmey’s job to round up New York’s hottest talent and give them some shine next to the GOAT. The love for Bimmey was evident in the shouts he got from every artist that blessed a track. LL was making everybody step up their game up and, consequently, the album was incredible. He had a crazy cut with Movado, a sick joint with Maino, and a record with Murda Mook, “Yeah I’m Nice, Yeah, Yeah, I’m Nice.” I was mad that I couldn’t take the music home with me. That’s Hip Hop, the anticipation of what an artist is going to come with lyrically, how are they going to make the track talk to us. Well, LL gambled on the hood and definitely won.
(Jineea Butler, founder of the Social Services of Hip Hop and the Hip Hop Union is a Hip Hop Analyst who investigates the trends and behaviors of the community and delivers programming that solves the Hip Hop Dilemma. She can be reached at jineea@gmail.com or Tweet her at @flygirlladyjay)
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