"Hip to Hip-Hop"

Songs That Shaped a Generation of Music

Hip-hop music is ubiquitous. It's the sound of every other commercial, blares through arenas at NBA games and scoops up armfuls of Grammys. Its impact has been wide and deep, affecting everything from advertising, sports and fashion to film, television, religion and even politics. But the history of hip-hop -- where it really came from, its pioneers and visionaries, its evolution -- is less familiar, even to fans.

Read Hip to Hip-Hop (Post Sunday Source, Feb. 19).

Rhome Anderson , aka DJ Stylus , is a producer at washingtonpost.com who has rocked a hip-hop performance or two with the local group Poem-Cees. He's one of the hosts of the hour-long "Decipher" hip-hop show on WPFW (89.3 FM), where he can be heard every Thursday night at 11 with his crew, the Soul Controllers.

Anderson was online Tuesday, Feb. 21, at 1 p.m. ET to discuss his article and "the biggest popular music phenomenon of our times."

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Rhome Anderson: I'm looking at the question queue and I see beef! What's hip-hop without some drama? I went into this knowing that the mere act of trying to pick favorites in hip-hop generates a minefield of opinion. That's why this list shouldn't be considered definitive. It's just a jumping off point and definitely represents a specific narrative that I was trying to tell. I'm a DJ, that's what we do, tell stories with songs. Check out Can't Stop, Won't Stop , Oliver Wang's book or that amazing Ego Trip book if you want to go deep.

"You all tucked in? Heeeeeeere we go...".

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Arlington, Va.: Stylus ...

I've been a huge fan since "Headphone Addiction Vol. 1." I used to rock-it on repeat all the way down (4 hrs.) to Va. Tech from D.C., ... No joke!

Anyway, one of my greatest influences in Hip-Hop is the late, Great James Yancey, better known as Jay Dee (...from Detroit), aka J-Dilla.

As one of D.C.'s top Hip-Hop aficionados, I was hoping that you could say a few words about Dilla. His influence on you (if any ...), your favorite Dilla jam(s), and what you think he meant to Hip-Hop.

R'spect.

Rhome Anderson: Dilla's death hit so many of us extremely hard. I can't believe that he's gone . This is a cat whose work won't be truly appreciated until time has allowed his influence to really sink in. For all those that don't know, please take some time to read this man's discography . He's responsible for some of the biggest artistic achievements in hip-hop and modern soul: D'Angelo's "Voodoo", Common's "Like Water for Chocolate", The Pharcyde's "Labcabincalifornia", Busta Rhymes' first two albums! His production techniques started out as revolutionary and are now standard starting points for anyone that wants to make sample based music. He built on the legacy of Marley Marl, DJ Premier and Pete Rock and charged forward. I can't say enough about this dude but fortunately I don't have to. The music speaks for itself and there's A LOT of it.

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Woodbridge, Va.: Rhome, you have to address the influence of women on hip-hop. Roxanne Shante? Queen Latifah, Monie Love, MC Lyte? Come on, these ladies shaped the landscape.

Rhome Anderson: I agonized over this for a long time and Joe over at the Source held my feet to the fire on it. The truth about hip-hop is that it is a boys' club. That's not a positive thing but it's reality. The women that have made their marks are few - not because they're not dope but because the odds are stacked against them, by a culture that is extremely competitive at its heart and by an industry that is extremely sexist. In today's hip-hop landscape women can't get a record on the shelves unless they get butt naked or become a show piece for an established rapper (who remembers AMIL or Sole? exactly). Those artists often sell a lot of records out the gate but are quickly banished to obscurity. A notable exception is Da Brat, who can rhyme with the best of them, sold a grip of records and uses sex appeal instead of being used by it. I couldn't get notable songs by ladies in hip-hop to fit in the narrative I was trying to tell in this article so I included them in a sidebar that ran in the print version but not the online version. Some of y'all might consider that a cop-out. I'll take the heat on it.

I'd also like to acknowledge the women in hip-hop who aren't emcees and have pioneered in the other equally important but not commercially visible elements: the b-girls, graff writers and DJ's. Some notables are Jazzy Joyce, Lady Pink, Cocoa Chanel, Kuttin' Kandi, Shortee, Asia-One and Honey Rockwell. And also underground MCs like Medusa from Oakland, Invincible from Detroit and many more. I find that women have a much bigger impact on hip-hop at the community level then at the level where big dollars come in. So many important women are making great art and/or curating the culture at this level but space doesn't allow them to all be acknowledged here.

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JR Washington, D.C.: Reading your article I found it interesting on how you figure/went about picking your selection of the "Songs that shaped a generation". Well at least why the article was called that anyway. Like you mentioned, Hip-hop is an ever changing genre over the last 30 years but you have come up with a list better than that!

From Run DMC the ones that brought Hip-Hop to the fore-front to the commercialized Vanilla Ice that brought it to the maintstream to NWA of the West Coast that brought you a gangsta Hip-Hop to Master P who brought us the elementary of the Derrty South!

Rhome Anderson: I think we'd all agree with you that you can't encapsulate the whole story of hip-hop music in one newspaper article.

I would like to add some more context to my thought process for this piece. I deliberately left out the hits because everybody hears those. They're all over the radio, on MTV, etc. I wanted to go a little deeper and also talk about records that have staying power.

And here's where I get a bit prickly with my personal opinion. Vanilla Ice is irrelevant musically, although he represents a big cultural phenomenon. Master P is wack but his influence commercially is important. If you want to talk about southern pioneers let's talk about Geto Boys or UGK.

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Celeste, Silver Spring, Md.: Bam -- I mean, Rhomie. I applaud your list for thoughtfully painting hip-hop's broad strokes (tho' I would've picked a different track from The Listening). I noticed that the South was excluded. I'm never one to wave the Southern rap banner, but I think OutKast should be squeezed into the list somewhere -- they were the forerunners of the what dominates contemporary commercial hip-hop and I think they'll go down as one of the most important hip-hop acts of all time. Your thoughts?

Rhome Anderson: I agree with you wholeheartedly. They got some shine in my playlist but that's not enough to emphasize how important they are. Not only is Outkast one of the best hip-hop groups of all time but they're one of my personal favorites. I remember the epiphany I had when I realized that in my mind they had surpassed EPMD as the best hip-hop duo ever.

Here's why Outkast is amazing. Popular black music these days does NOT reward risk taking and forward thinking. Outkast manages to be completely innovative on every album but still remain accessible to regular folk. They're allowed to grow from album to album and people still ride for them even though change can often decimate a fanbase (Electric Circus anyone?). They sell millions of albums without falling off artistically!

Word to the Dungeon Family!

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Philly expat in D.C.: Rhome, I had no disagreements with maybe four out of your first five selections. But the bottom six, excluding the "Scenario (Remix)" I think is more a reflection of your predilections. How can you claim that this is a jumping-off point to explore some of hip-hop's history and influence while ignoring the significance of the Wu-Tang?! The Wu, for the most part, was a dominant group in the mid '90s which lead to several sucessful solo endeavors by various members. You just skipped them like Rza, Gza, Ghost, ODB, et al, never existed. And while you do mention MF Doom in passing, you pick Co-flow and Little Brother for inclusion over Doom? How do you ignore Doom's influence in the underground scence (talk about how someone can evolve from early concious hip-hop with KMD to underground hip-hop phenom as Viktor Vaughn, King Geedorah, and Metal Fingers)?

Rhome Anderson: Again, an instance where the constraints of my specific narrative couldn't bear all that needed to be said. Of course the Wu are at the pinnacle of hip-hop importance. But even folks with a passing understanding of hip-hop are aware of that.

I love Doom too, just not enough room.

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Arlington, Va.: I have a basic question: What is hip-hop music? I've heard the term before, of course, but I've always assumed it to be another name for rap music, or a genre very similar to rap. What is the difference?

Rhome Anderson: There are a couple of questions like this so let me backtrack a bit. For the purposes of this article, hip-hop music and rap music are the same thing: a genre of music characterized by rhythmic spoken verse over music.

The subtle difference is not of genre but of specificity. The music is often divorced from the larger culture that includes graffiti art, DJing and breakdancing because none of those latter three really make any money. When I say hip-hop music, I'm reconnecting the music to the other forms that make up the whole hip-hop culture.

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Your List: You really impressed me with some of the songs in your selection. In particular ... Scenario Remix and Mainstream. However, you left at a song that I thought would be a clear-cut choice: Common's "I Used to Love H.E.R." Any thoughts?

Rhome Anderson: That song is required listening. It really captures a moment in time and removed from that context of cultural critique, it's just a great piece of poetry.

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Mitchellville, Md.: My husband and I have been introducing our 13-year-old daughter to classic hip-hop (before the heavy anti-woman phase set in) and have even gone so far as to Netflix Beat Street and Breakin' as examples of the early commercial years as comparison to where the genre is now. We've introduced her to BDP, KRS and early Tribe albums. What advice do you have to help us along in convincing her that what's on the radio now, is not what it always was.

Rhome Anderson: Show her my favorite hip-hop movie of all-time: The Freshest Kids. Then go out and buy Style Wars, Wild Style, Scratch and Freestyle. Krush Groove and Beat Street are less heavy on history than the others but they're great for getting the feeling across of the early days... and they're great fun!

One of the problems with hip-hop these days is that it's a disposable commodity. We have to be custodians of our own history in order for it to be taken seriously.

That's one of the reasons why I loved VH-1's Hip-Hop Honors so much. It connected the present to the past in a way that is digestible by children of today's hyperkinetic media landscape. Whether you're 13 or 40 you've got to be moved by Big Daddy Kane's showmanship. And it's important to see that the multi-talented sex symbol that is 2006 LL Cool J started out as a plucky teenager over 20 years ago.

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San Francisco, Calif.: Sadly, your list reminds me why I had to leave my D.C. home for the west coast. As a DJ and producer I am not suprised, but disappointed with your list for lacking any nods to instrumental hip-hop. Was Shadow's Endtroducing ... not influential enough for you?

Rhome Anderson: Fantastic record. I've got an original copy on vinyl. Couldn't fit it in my article though.

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Rockville, Md.: Your reference to Kraftwerk as a weird German synth band as if they were akin to Falco or the Human League betrays your own ignorance of the history of other forms of music. In using the term "seminal" to describe German synth band, Kraftwerk would have been more appropriate based on their pioneering use of synthesizers, dance music and video. As for the history of hip-hop music. What history? Black music since the jazz age has been based on the most current sounds and beats (unless you're Diddy and the Funky Drummer infauation), as well as the most up-to-date street phrases. Who wants to look back?. It's always been about who's coming up. The tributes to the "pioneers" during the Source and BET awards shows usually smack of the same sentimental, canonization that you see in the mall stands selling silk-screen shirts and cheap prints of Tupac and Lisa Lopes. If you want to talk about pioneers, there is no rap act that has been or will be around with the staying power of rock groups like the Rolling Stones. The music isn't built to last and the fan base is eternally fickle. The groups and DJs that you mentioned in your article are destined for a future of packaged oldies shows featuring one original member of your prized groups or teams and a ringer like the Temptations and Four Tops dinner theater shows you see on PBS pledge drive weeks. Besides, Flavor Flav is prostituting himself on a reality show on VH-1. Most of my heroes don't appear on no stamps, but they sure as hell don't appear on cheesy VH-1 shows or in garbage films like "Rollerball".

Rhome Anderson: Weird doesn't mean that Kraftwerk weren't any good. Who would argue that they're not important? It just means that they make the type of music that would have had no relevence to some black and latino kids in the Bronx in 1982 without it being recontextualized.

As for the rest or your argument?

I've got better questions to respond to.

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Durham, N.C.: I found your list very interesting and was pleased and surprised to recognize all but one of the songs and agree with your selections.

However, I wonder if future rap historians will be able to list important hip-hop songs of 2000-2010 and have the same connection with readers. With all the music options available, I'm finding that my music listening intersects with the radio only tangentially, and that a lot of what I listen to, my friends have never heard of.

Besides a few big-play radio acts, will a list similar to yours ten years from now have the same relevance?

Rhome Anderson: Great point.

The competition for finite attention spans is fierce in today's hyper-technical age. That makes it that much harder for anything to stick.

Audiences are fragmented, options are myriad, consensus is reduced. Only time will tell what has staying power. A list like mine will definitely mean less to a broader slice of readers as time goes on.

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Washington, D.C.: What is the influence of hip-hop on the younger generation in this area? Has hip-hop made a different kind of impact compared to the generations before them? I know you have been in this area for quite some time, and I also wanted to determine the type of influences hip hop has on different regions (in U.S. and abroad) and on various ages?

Rhome Anderson: Youth culture is pretty much defined by hip-hop. They're becoming one in the same and that's quickly becoming applicable worldwide.

As for this area, hip-hop just can't surpass go-go, even though it does slip in as a secondary influence since go-go covers a lot of hip-hop songs.

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NW, D.C.: With hip-hop being primarily black, is it proper to include a group like the Beastie Boys w/the legends of hip-hop?

Paul's Botique, even after 17 years, sounds very fresh and innovative. Would you consider it an essential album for the hip-hop contesuer?

Rhome Anderson: Yes and yes.

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Washington, D.C.: Something's been eating at me for a few days. Should I have dropped 50 bucks to watch the whole Wu-Tang Clan tear through a 60-minute set at 9:30? Seems like a quick jab at my wallet but how many opportunities will I have at something like that? If they played a little while longer maybe I wouldn't be so torn. I've seen Meth and Gza live before and both killed their respective shows. I'm riddled with hip-hop guilt. How'd you feel about those two shows in one night format?

Rhome Anderson: Did you enjoy the show? Did you feel like you were witnessing something important? Then it was worth it.

I personally thought the show would be a disaster of the extremely tardy and too many fools on stage screaming into microphones variety... so I didn't go.

From the reviews I've heard and read, my prediction was wrong and I'm happy about that.

I don't need anymore hip-hop legends to disappoint me, it happens much too often.

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Washington, D.C.: Everyone seems to think that so-called gangsta rap had its start on the West Coast when nothing could be further from the truth.

What influence did PSK (by Philadelphia's own Skooly D)and other East Coast crews have on the emergence of this genre?

Rhome Anderson: Stylistic linkages can be made between Schooly D, Kool G. Rap, Ice T, NWA and BDP's first album.

The themes were present on the East Coast but the West Coast went on to define it.

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D.C.: Hip-hop seems to have completely lost its way. It's hardly fun or enlightening anymore. Instead is repetitive and ignorant.

What happened? Major labels? Less talent? For those who want to enjoy hip-hop at its essence, pick up the book "Rakim Told Me" It's a great window in hip-hop history.

And your list? Any list pertaining to hip-hop without Rakim is no list at all.

Rhome Anderson: There is tons of progressive, engaging hip-hop being made now. You just won't hear it through standard channels very often. You have to really work to find it. Get on the internet, read music magazines, listen to college and community radio. You'll be rewarded for your efforts.

The thing is, you really have to wade through a lot of dreck in the commercial AND underground realms. And a lot of purists would say that there's no "realness" in the mainstream but personally I think that Ludicris is a direct heir to Slick Rick. I love that dude.

Re: Rakim. They don't call him "The God" for nothing. But hey, I left out Kane too so I'm aware that I might be looked at as having committed hip-hop blasphemy.

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Rosslyn, Va.: You've given props to Common, OutKast, Shadow, Doom (feh), and Wu, while explaining that their songs, while great, didn't fit your narrative. How many of the songs on your "101" list here are also on your personal Top 10? What song did it pain you the most to leave off this list?

Rhome Anderson: I didn't include any Jungle Brothers, and their "Done By The Forces of Nature" album is my favorite album of all time in any genre.

No Kane, no Rakim. No De La Soul, even though I got them in my playlist. No Pete Rock & CL Smooth. I'm sure you're getting an idea of my personal tastes by this point.

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Merritt Island, Fla.: Why are you skirting around the issue and not answering questions that deal with the violence hip-hop promotes? Particularly the rise in black-on-black and juvenile crime that is inspired by the rise in violent hip hop lyrics?

Rhome Anderson: You got some quantitative evidence that says that hip-hop lyrics directly incite youth violence? Let's see it.

Nobody said that rock music makes white kids into criminals when they burned down Woodstock a few years back.

Do I believe that negative images in hip-hop can be unhealthy for youths? Yes I do. And here's something that applies to related questions in this queue so I'll only say it once: the industry that has grown around hip-hop music picks out the most pathological aspects of black culture, blows it up, repackages it, and sells it back to a general american public that has always had a taste for sex and violence.

Do unsavory elements exist on a basic level in the communities that birthed hip-hop? Yes. But the business of this music doesn't reflect how that is also balanced out by positive things. For every pimp and stick-up kid there's a grandmother or a young couple in love. We can't pretend that ugliness doesn't exist but art has to reflect a balance in life. Commerce doesn't do that. Mass media outlets are not going to do that as long as America continues to get off on mysogyny and violence.

*end rant*

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washingtonpost.com: Hip to Hip-Hop (Post, Feb. 19)

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Anonymous: Don't know if this has been done, but if you can print this as a "comment to another writer" rather than a question, but:

"The tributes to the "pioneers" during the Source and BET awards shows usually smack of the same sentimental, ... If you want to talk about pioneers, there is no rap act that has been or will be around with the staying power of rock groups like the Rolling Stones. The music isn't built to last. ... ."

First and foremost, I find it hilarious that someone who gets emotional about some obscure foreign-born group would be so ignorant about one of the few American-created art forms. Unlike the Rolling Stones, which consist of members lucky enough to be born of the mainstream's racial-persuasion (if I may put it that way), hip-hop has to survive against the grain of mainstream aesthetic and despite its appeal and genesis in a minority community. With that in mind, hip-hop is fighting an uphill battle, and if, IF, it doesn't survive it will be due to mainstream America's "fickleness" with every hot new minority trends, rather than to an unathenticity of the music. And to say acts like Public Enemy and Sugar Hill Gang aren't important or are destined for some type of obscurity due to some ludicrous idea of "planned-obsolescence" is like saying Robert Johnson, Son House or Blind Lemon Jefferson aren't important to music because they are no longer, or NEVER WERE, household names. And that's just idiotic. And if you don't know who those latter musicians are, why don't you write the Rolling Stones and ask them, I'm sure they'd be happy to tell you who they took their style of music from.

Rhome Anderson: I don't keep track of such things but it sounds like a good idea. This is about discourse right? Go ahead and respond if you want.

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Bloomfield, N.J.: Certainly it's true of all musical genres, but it is particularly so in rap: Longevity is nearly impossible. With rare exceptions (LL Cool J, Jay Z, Dr. Dre, Nas), the turnover rate in hip-hop is extreme. Who of today's rappers do you see staying relevant for a period longer than 5 years? Or who do you think has the best chance to make this list if you redid it in 10 years?Thanks.

Rhome Anderson: Common and Jigga (as long as he isn't serious about retirement).

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Silver Spring, Md.: Hip-hop's always been a big part of my life and have always thought D.C. was a good spot because of all the amazing shows I've gotten to see hear over the years from Gangstarr to KRS One to the Roots bianuualy and on and on but now listening to your shows when I get a chance on 89.3 I realize that I've been missing out on the actual scene in my city. It's one thing to go chill at friends houses and spin records and talk music but it's another to check out a new spot and hear an area DJ rip a set of stuff you didn't even know about. How can I get plugged in more to the local hip-hop scene aside from checking with the radio show which you'll readily admit isn't that easy to always catch for one hour at 11.

Rhome Anderson: You've got to do your homework. Artists are out on the grind all the time. You've just got to seek it out. Hang out at Capital City records. Keep an eye out on our City Guide or in the Washington City Paper for show listings. Attend the shows. Talk to the artists. Buy their records (but only if they're dope!)

It's all about community.

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The Most Influential Hip-Hop Song of the 1990s : This is an argument I have made on many occassions and will continue to make until I die. You may agree or may not ... but check it out.

The most influential hip-hop song of the 90s was the Flava in Ya Ear Remix. Why? Let me explain. The hottest song that summer was Flava in Ya Ear. Although Juicy got released early that spring (as you mentioned in your list) it is a great song in retrospect (Big's Death and other reasons). But Flava in Ya Ear (Remix) was so powerful because it did several things in the Fall of 1994:

1. Solidified Biggie. We got a real introduction to him in the Supercat joint. Of course Juicy ... and then Big Poppa. But to be lead-off rapper on this hit song made us all say ... this dude is for real.

2. It propelled Busta's solo career. Most LONS fans know Charlie Brown was probably the more fan favorite.

3. Brought LL back from the dungeons of his awful early 1990 songs/albums.

Unfortunately, Rampage and Craig Mack didn't jump on the bandwagon but oh well.

Rhome Anderson: Great argument!

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Ft. Washington, Md.: Hi Rhome,

2 part question. #1. Who do you consider to be the top 10 MC's #2. Top 10 songs

Rhome Anderson: I wouldn't even try to answer this. Sorry to disappoint! I can't even figure out MY OWN top lists that only reflect my personal tastes.

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JR Washington, D.C: The reason I mention Vanilla Ice is because he made people pay attention to hip-hop/rap. Yes the Geto Boys and how bout MJG&8Ball are all legends but nobody started to pay attention to the derrty south until Master P brought his sound. The genre gets broad because you can start to divide it into hip-hop/rap, gangsta hip-hop.

You make some good points and I don't wanna take anything away from you! Let's keep you employed at the Post for a minute and have this Hip-Hop/Rap debate ere' week!

Rhome Anderson: Thanks!

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Washington, D.C.: Do you feel that hip-hop suffers a generational bias? A lot of "heads" often dismiss newer forms (Crunk, snap-music, Houston screw, Dipset, Yay-area, etc.), while waxing on about the bygone days of the Wu Tang Clan, Pete Rock, Fugees, etc. Were now-legendary 90s groups like Wu-Tang, Tribe and De La dimissed by the old-schoolers back then?

Rhome Anderson: Generational bias is definitely in effect because the music isn't just music, it's cultural touchstone. It's moments in time. It's the soundtrack to defining moments in peoples' lives.

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Alexandria, Va.: Just moved back to the area and I'm in search of a spot where I can hear good hip-hop on certain nights ... and I want it to be something a little "hip" and "grimy", kind of in the mold of the old "State of the Union" on U street?

Rhome Anderson: Check out DJ Eurok's gigs and Blue Room on Thursday nights .

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Like Chris Rock said ... : I'm 32 years old and basically grew up with Rap and Hip Hop music and I love rap music ... but I'm tired of defending it! Am I just getting old or has Rap and Hip-Hop taken a turn for the worse in the last seven years or so? I know that there has always been "provocative" artists out there for a long time (remember 2 Live Crew) but I just don't remember them getting the type of mainstream airplay that some of the more sexually suggestive R and B, Rap/Hip Hop that is played everyday with FCC approval.

Rhome Anderson: American pop culture has generally grown more coarse and the hip-hop music that's been a part of that has followed suit. There is variety out there but like I said before, you have to look for it.

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Rockville, Md.: "I've got better questions to respond to." So let's see, you write an article on rap music, agree to participate in a chat and then answer questions only from readers who agree with your choices and premise, want to stroke your ego or want to gather your thoughts on some obscure rapper who's now doing time. I've always respected the integrity of these chats and have never seen a panelist ever wimp out on a question like that before. If you didn't want to answer it, why bother in the first place. Slow day, not many care about your top 10?

Rhome Anderson: Your comment wasn't about the article, it was about whether hip-hop is even worth being written about seriously.

That's not worth my time to debate.

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Washington, D.C.: Rhome -- Man I don't really "follow" developments in hip-hop, I just buy records, so I had no idea Jay Dee was dead. Damn.

Voodoo is the best produced album of any kind I've ever heard. The "slum" style of the beats (the 1 and 3 (downbeats) are late, and the 2 and 4 are early) puts the nastiest live drummer's pocket on show every bar. If you don't own Voodoo. Buy it. Buy Slum's records and Water For Chocolate too. Didn't he do that Phife album around the same time?

Rhome Anderson: One more for Dilla.

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Silver Spring, MD: Who's going to put D.C. on the map? Is this city too pretentious to make it in hip-hop. I have some hope for Blyss but he needs to forget teh dirty south and embrace the go-go roots ...

Rhome Anderson: Blyss is dope. It would be nice if a D.C. rapper made it by embracing go-go but I wouldn't hold my breath. Go-go is really hard to translate for outsiders. But yeah, Blyss is dope.

It's hard to say who will really put D.C. on the map. A lot of cats are doing well nationally and internationally without being commercially popular. Check for Asheru, Priest da Nomad and Kev Brown.

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Gaithersburg, Md.: MP3's, file sharing, Serato and related technology have increased the accessibility of all music (including "hip-hop's high impact songs"). Within a few moments of reading this article one can fairly easily obtain its referenced songs. From a knowledge-transfer standpoint, this is clearly advantageous. However, there are downsides to this as well. What do you feel are the long-term effects of such technology in regards to the preservation and exploration of hip-hop?

Rhome Anderson: Okay, I'm getting worn out. I think this will be my LAST QUESTION.

I'm a DJ, I use Serato Scratch Live and I love the fact that I have so much more music available in my arsenal and I don't have to lug crates of records out of the club at 3am. I do feel guilty some times because I'm old school and it can feel like I'm abandoning an old friend.

I'm not giving it up though. Serato is changing the game and if you don't keep up you get left behind.

Hip-hop has always been about embracing technology to move forward. If Flash wasn't customizing mixers back in the day to create internal headphone cueing, where would we be as DJs?

The downsides of this new technology is that it's harder to create that emotional connection to the music when it's just 0's and 1's... little lines of text on a computer screen. A piece of 12 inch vinyl has a certain character that makes you value it. It has art, it has heft, it has liner notes. It required you to expend some resources and interact with other humans to obtain it.

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Annapolis, Md.: What's your opinion on foreign rappers, like Tricky, the Streets or MIA? What's different in the rap that's being done outside the U.S., if anything?

Rhome Anderson: Their cultural points of reference are different. This is a positive thing for hip-hop. The worse thing is non-American hip-hop that tries to mimic American hip-hop. That bores me. That's why I love cats like Ty in the UK and DJ Krush from Japan.

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Rhome Anderson: Thank you all for participating. I've got to continue with the rest of my work day now. I hope that you all keep listening, thinking and engaging in discourse. Thanks for all the props and thanks to the haters too! Maybe I'll do this again some time.

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