Hip Hop x Basketball -- 3: "Just Like Us"
3:
“Just Like Us”
So now we’ve seen an
understandable correlation born of the similar creations of basketball and hip
hop. We’ve discussed why the
participants should want to involve themselves with one another, if only from
more often than not coming up from similar backgrounds themselves. Now it is time we discuss what good reason
they may have to continue and cultivate the personal-cum-business
relationship(s).
As with any connected
entities, their mutual involvement will eventually espouse emulation. One could argue that Biggie saw this coming
(or had already witnessed) when, on his first album, he mentioned “either you
slinging crack rock or you got a wicked jumpshot” with the at-the-time unspoken
third option naturally being music. It
was ironic, because he was passively speaking out that third option by
participating in it for his own out of those very same neighborhoods. Either way, generations coming up behind the
ones who made it out of the neighborhood would see their elders as having
gotten out with either basketball or with rapping. Some of them would try their hands at one of
the other with any level of seriousness, while a passive interest led to some
semblance of ability in the other. It
stands to reason that there would be a rapper who is decent with a basketball
as well as ball players who are at least capable on a beat.
That would be precisely where the emulation began.
As early as 1993, an aforementioned
Shaquille O’Neal was appearing on the albums of nationally-signed artists en
route to releasing his own music as a nationally-signed artist in his own right.
Soon thereafter, it seemed that EVERY
NBA player was looking to capitalize on the fact they too had grown up in an
environment in which hip hop was popular; again giving itself to the fact that
people tend to want to do the things that people who look like them are doing. 1994 saw the release of Basketball’s Best Kept Secret, a compilation album featuring NBA
players Dana Barros, Malik Sealy, (naturally) O’Neal, Brian Shaw, Cedric
Ceballos, Jason Kidd, Isaiah Rider, Dennis Scott and Gary Payton. Work on the project was done alongside establish
rap acts and producers to release what were most players’ involved first last
and only forays into hip hop.
Next – literally right around the same time as B-Ball’s Best Kept Secret – was Scottie Pippen’s Sega game “Slam City,” and while a video game does not necessarily classify one as “hip hop,” the inner-city setting of the game and Pippen himself rapping in the game’s theme song surely does. Like the above-mentioned CD, Pippen’s rapping was not very well-received and it would be his apparent only commercial attempt, much to the benefit of his hall-of-fame career on the basketball court.
Next – literally right around the same time as B-Ball’s Best Kept Secret – was Scottie Pippen’s Sega game “Slam City,” and while a video game does not necessarily classify one as “hip hop,” the inner-city setting of the game and Pippen himself rapping in the game’s theme song surely does. Like the above-mentioned CD, Pippen’s rapping was not very well-received and it would be his apparent only commercial attempt, much to the benefit of his hall-of-fame career on the basketball court.
The years would see
NBA players less adventurous with their attempts to break into the music realm,
with items among the glowing exceptions being Chris Webber’s one shelved album
and his 1999 album “2 Much Drama” and his production work for other artists. Webber remained visible behind the scenes in
the industry without getting involved in the embarrassing out-front side that
some of his NBA contemporaries inexplicably did. Beyond that, Kobe Bryant flirted with a
chance at a hip hop career, most visibly in his appearance as a featured rapper
on Brian McKnight’s 1998 single “Hold Me,” and naturally (and perhaps most
infamously) Allen Iverson’s 2000 single “40 Bars,” recorded under the rap name Jewelz. One could argue that the fallout from the controversy
stirred by that song led to some changes in just how familiar hip hoppers were
allowed to be with hip hoppers at large.
The cross promotion of
NBA players of the above-named time was largely born of a time in the
late-90s/early-00s, where the media and population in general were much
friendlier to rap. Rap, though sometimes
seen from inside of the industry as a mockery, was unavoidable in commercials
and television. Giving a push to someone
who was more “authentically hip hop” on their exterior is never a bad
idea. People would ostensibly have an
easier time believing a tattooed NBA player as a rapper than they might a
soccer mom in a cereal commercial.
Going the other way,
however, things were not all the same. Save for a celebrity ballgame here and
there, we don’t often get to SEE what hip hop artists are capable of on the
courts (with the exceptions of the ones who abandoned dreams of athletic
careers for ones in entertainment), but the connection is EASILY found in the
employment of obscure references mostly left to connoisseurs or at the very
least someone who has done the legwork to make a smart reference. And to that ends, we are often reminded that
the most average rapper is not near as much a thug as he would have us believe
on record and in interviews. North
Carolina rapper J. Cole makes it no secret, his childhood dreams to play at the
University of North Carolina at Chapel Hill and perhaps move on to the NBA in
the vein of the de-facto “greatest player ever” and fellow NC product, Michael
Jordan. He also makes no qualms that his
dream changed and that the focus took him to college in New York where he would
go on to make good on a desire to parlay it into a career in hip hop. The point is that neither is easy to just
wake up and do. Considering the number
of people who want and actively make attempts and careers in sports, faced
against a (not-so) simple ability to make a specific set of points contained
within sixteen lines of speech with mind on rhyming patterns should tell us
that.
We should not therefore pretend to
be surprised when someone drops a line comparing themselves to historic events
involving a heroic feat on the basketball court now should we? The mark of a good writer, even if that
person gets fewer than fifty lines of speech in about five minutes, is getting
and keeping your attention in time they have been given.
The natural fact of
the matter, as will become a very noticeable central theme here, is that VERY
often we will find those who go on to fancy basketball as either players or
fans coming up in the exact same generation, location and proximity of those
who fancy hip hop music in the same manner.
A lot of the time, the connection is and will continue to be so absolute
that the necessary skills to take part in either activity. It’s only natural when ball players-to-be
grow up around rappers-to-be. Even if
one goes on to go “pro” in one medium, it remains a plausible reality that he still
possesses the abilities to at least passingly participate in the other, even if
in the name of recreation.
For the sake of the link between the two, it is largely a matter of physical ability. That is meant to say that while it is realistically plausible for a basketball player to be able to rap or learn to rap out pre-written lines, it is far less so to ever think that a guy who has lived the party life that rappers most often lead us to believe they live can jump center for the Boston Celtics this coming November. With that said, attainment of any level of success while crossing over from one medium to the other was ALL made by basketball players rapping. The next nationally signed musician to break into the NBA or any other sport, actually, will be the first. Homage is to be paid in whatever manner afforded by the individual tasked with giving proper consideration to the respective talents it takes to complete their task.
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