Summary
This video features an in-depth interview with veteran MC R.A. the Rugged Man, discussing his early life, influences, and career. He shares experiences of facing racial prejudice as a white rapper in predominantly Black neighborhoods, his first encounters with hip-hop, and how he developed his distinctive fast-paced lyrical style. The conversation also touches on his struggles with childhood trauma, the devastating effects of Agent Orange on his family, and his perspective on the evolution of hip-hop from the 80s to the present day, including discussions on lyricism, performance, and the business side of music. R.A. also reflects on his songwriting process, particularly for his acclaimed song 'Uncommon Valor' about his father.
Key Insights
R.A. the Rugged Man experienced significant racial prejudice from white peers for embracing Black culture and hip-hop in the 1980s.
Growing up in Long Island, R.A. faced animosity from white kids who accused him of wanting to 'be an n-word' or 'be a [expletive]' for associating with Black friends and enjoying hip-hop music. This created social challenges at school and in his neighborhood, leading him to feel isolated from white peers, despite his own confidence in his choices.
The devastating long-term health effects of Agent Orange on R.A.'s family highlight a critical, tragic aspect of the Vietnam War's legacy.
R.A.'s father, a Vietnam veteran, was exposed to Agent Orange, which led to his children, including R.A.'s sister and brother, being born with severe disabilities (inability to walk or talk, blindness). Even his grandchild later died at six months old, suggesting the genetic impact of the chemical. R.A. expresses profound anger at the government for the lack of support and the lasting damage to his family's genetics, contrasting his father's accepting soldier mentality with his own pain.
The evolution of hip-hop from the 80s to the 90s saw a shift from a performance-based, youth-oriented culture to a more business-driven industry.
R.A. explains that in the 80s, hip-hop was a youth-oriented sport focused on party rocking and performance, with artists often being teenagers. However, as it became a business in the 90s, the focus shifted towards album sales, career longevity, and marketing to a broader demographic, including suburban white audiences. This impacted the authenticity and the type of artists who thrived, moving away from the raw, street-level artistry that characterized the earlier era.
Sections
Early Influences and Hip-Hop Origins
Long Island in the 80s was a major hub for hip-hop innovation and production.
R.A. highlights Long Island's significant role in the 80s hip-hop scene, mentioning artists like Eric B. & Rakim, Public Enemy (specifically The Bomb Squad's production), and how even West Coast artists like Ice Cube came to the area for recording. This period set the stage for a vibrant local music scene.
Fat Boys' tape was R.A.'s first introduction to rap music, gifted by his father.
As a child, R.A.'s father humorously gifted him a Fat Boys tape, leading to his first exposure to rap. Although he found it cool, the album that truly ignited his passion for lyrical content was MC Shan's 'Down By Law', produced by Marley Marl.
Biz Markie was an early supporter who took R.A. under his wing.
At around 14 years old, R.A. met Biz Markie, who recognized his talent. They bonded over shared interests, including horror films, and R.A. would bring Biz VHS tapes. Biz was encouraging, telling R.A. he had potential.
Rappers in the 80s seemed older to young fans due to the era's youth-oriented nature in hip-hop.
R.A. notes that artists like Rakim and LL Cool J, who were only a few years older, seemed like adults when he was 14. This perception was common because young talent was celebrated, and many artists started their careers in their mid-to-late teens, unlike today where artists tend to be older when taken seriously.
The shift to a business model reduced the presence of teenagers in hip-hop.
R.A. suggests that hip-hop's transition into a business model meant that younger artists often lacked the business acumen to succeed unless they had proper management. This led to a decline in teenage artists being taken seriously, with a preference for more mature artists in their 20s who had accumulated more life experience.
Early hip-hop prioritized performance and raw talent, with 'dance battle' like energy.
R.A. recounts his early days as a breakdancer and rapper, often performing at house parties. He describes freestyle cyphers using tapes and pencils to loop beats and rap over them. He emphasizes that the raw performance aspect was key, even with a high-pitched voice initially.
R.A. faced racial animosity from white communities for his involvement in Black culture.
While embraced in Black communities and parties for respecting the craft, R.A. faced significant backlash from white people, particularly in Long Island, who taunted him for his association with Black friends and hip-hop culture. This social tension was prevalent in the 80s music scene.
R.A.'s distinctive style included wearing a Flavor Flav clock, adding to his unique, somewhat 'corny' persona.
To stand out and express his individuality, R.A. donned a Flavor Flav clock in high school, which, combined with his energetic persona, made him seem 'crazy' or eccentric to his peers.
Home Life and Personal Struggles
R.A.'s home life was marked by significant hardship and a father with PTSD.
R.A. describes his upbringing as extremely difficult. His father, a Vietnam veteran, suffered from PTSD, leading to unpredictable behavior. While not physically abusive in terms of violence, his father was disciplinary and projected authority, creating a tense home environment. His father's street life and frequent run-ins with the law also contributed to the instability.
Agent Orange exposure led to severe birth defects and deaths in R.A.'s family.
R.A.'s father's exposure to Agent Orange in Vietnam resulted in his younger siblings being born with profound disabilities (inability to walk or talk, blindness). The chemical's impact extended to his grandchild, who died at six months old, indicating a devastating generational curse within his family's DNA. This led R.A. to fear for his own children's health.
R.A. experienced intense parental anxiety and fear for his children's health due to his family history.
After his daughter was born healthy, R.A. was plagued by fear, constantly checking if she was breathing and experiencing panic attacks, feeling that his perfect baby was too good to be true given his family's history of infant death and disability. This anxiety persisted until his son was also born healthy, eventually easing his fears.
The Art of Lyrical Delivery and Hip-Hop Evolution
R.A. developed a fast, complex flow, influenced by 80s styles and potentially by artists like Super Lover C.
While R.A. acknowledges his ability to rap slowly, his signature fast flow is a key part of his arsenal. He mentions influences from stylists like Biz Markie and Buster Rhymes, and credits Super Lover C's song 'Pump It Back' as possibly the first time he heard a double-time flow, which later became a common technique.
The 90s ushered in a more 'serious' lyrical era with artists like Nas and Rakim.
Following the more playful styles of the 80s, the 90s saw a resurgence of lyrical complexity and seriousness in hip-hop, spearheaded by artists like Rakim and Nas. This period emphasized intricate wordplay and storytelling, contrasting with some of the more lighthearted trends of the previous decade.
Hip-hop's commercialization in the 90s shifted focus to career-oriented music and business.
R.A. notes that the 90s marked a period where hip-hop became more career-driven, with artists focusing on albums, music videos, and tours, fueled by increased industry money. This contrasted with the 80s, where many artists weren't necessarily thinking of long-term careers and faced constraints from record labels.
The shift in hip-hop's audience from urban Black communities to suburban white consumers changed the industry.
The transition of hip-hop's core consumer base from urban Black and urban youth to suburban white audiences in the 90s significantly altered how music was marketed, promoted, and perceived. This demographic shift influenced everything from song selection to artist image.
R.A. defines himself as underground by choice, prioritizing artistic integrity over mainstream pop success.
While acknowledging he has 'hits' within his fanbase, R.A. maintains that he won't alter his music to appeal to a wider, pop-oriented audience. He cites his album charting on Billboard and in the UK without a traditional marketing campaign as proof of his organic reach, preferring artistic freedom over compromising his sound.
R.A.'s songwriting process involves both beat-driven flow and lyrical conception.
R.A. explains that his writing process varies: sometimes a beat dictates the flow, allowing him to generate numerous rhymes effortlessly. Other times, he develops lyrical ideas first and then finds a beat to match. He emphasizes finding rhymes that sound good rhythmically and lyrically, avoiding 'throwaway' words.
Internal rhyme and unique phrasing are key elements of R.A.'s lyrical technique.
R.A. highlights his use of internal rhymes and polysyllabic rhymes, aiming to make his bars unique and interesting, not just technically proficient. He believes that while flow is crucial, the lyrical content needs to be equally compelling, even if it's fun and not overly complex.
Heavy D and Big Daddy Kane are cited as examples of MCs with exceptional delivery and impact.
R.A. praises Heavy D for his fun yet impactful delivery and Big Daddy Kane for his perfect performances and songs like 'Ain't No Half Steppin',' which he considers rap perfection. He feels that Kane's live performances were flawless and embodied a powerful stage presence.
R.A. defends Jay-Z against accusations of 'biting' by highlighting the cyclical nature of sampling and inspiration in hip-hop.
Responding to critiques about Jay-Z quoting Biggie, R.A. points out that Biggie quoted Biz Markie, and that borrowing and referencing are fundamental to hip-hop. He argues that all MCs draw inspiration from their predecessors and that singling out Jay-Z is unfair, especially when considering the historical context of artists building upon previous works.
R.A. believes Kool G Rap would 'destroy' Jay-Z in a rap battle, citing G Rap's early lyrical innovation.
R.A. firmly states his opinion that Kool G Rap, who emerged in the 80s with groundbreaking lyricism, would outperform Jay-Z in any lyrical contest. He emphasizes G Rap's foundational influence on modern MCing, predating and influencing artists like Nas and many others.
The definition of a 'top MC' depends heavily on the chosen category, whether lyricism, flow, or performance.
R.A. stresses the difficulty of creating definitive 'top' lists due to the varied skills in hip-hop. He highlights different strengths: Rakim for groundbreaking lyricism, Busta Rhymes for flow, Big Daddy Kane for performance, and Kool G Rap for consistent lyrical prowess. He prefers evaluating MCs based on specific criteria rather than blanket rankings.
R.A. praises Rakim's voice and delivery, noting that every word could be sampled.
He describes Rakim's voice as perfect for hip-hop, so distinctive that virtually any phrase he uttered could be sampled and become a hit. This highlights Rakim's profound impact on the sonic landscape of rap music and his ability to craft memorable, quotable lines.
R.A. prioritizes flow and voice tone in MCs, sometimes over intricate lyrics, citing examples like Q-Tip and Snoop Dogg.
While acknowledging lyrical skill, R.A. values an MC's flow and vocal delivery. He prefers Q-Tip's voice over Jay-Z's for its unique quality and considers Snoop Dogg's voice, with its Southern twang, as iconic and integral to his artistry. He believes these vocal characteristics add a crucial dimension to a rapper's performance.
The legacy of 70s Black filmmaker Jama Fanaka and his film 'Penitentiary' is highlighted.
R.A. shares his admiration for director Jama Fanaka, who, despite humble beginnings, directed the highly successful independent film 'Penitentiary' using film school equipment. He mentions Snoop Dogg's knowledge of Fanaka's work, connecting the filmmaker's raw, impactful storytelling to the spirit of hip-hop.
R.A. practices vocal exercises to maintain his performance stamina, especially for extensive touring.
Following vocal cord issues, R.A. adopted a rigorous vocal exercise regimen recommended by a specialist. This practice strengthens his entire vocal range, enabling him to perform consistently for long tours (up to 180 shows a year), ensuring his voice remains powerful and clear.
R.A.'s primary income streams are live shows and merchandise, with recorded music serving as a promotional tool.
He explains that touring and selling merchandise are his main sources of income, especially since the decline of album sales due to streaming. Records are now largely seen as a 'loss leader' to drive live performance opportunities.
R.A. believes his natural rapping ability, evident since childhood, is his defining superpower.
R.A. attributes his success to an innate talent for rapping that he's possessed since he was a kid. He describes it as his only significant 'superpower,' enabling him to excel in an area where he feels naturally gifted, even if other life skills are lacking.
The Song 'Uncommon Valor'
The song 'Uncommon Valor' is a deeply personal narrative about R.A.'s father's Vietnam War experience.
R.A.'s critically acclaimed song details his father's life as a Vietnam veteran, including his training as a killer, the psychological toll of war, and the tragic health consequences of Agent Orange on his family. The lyrical content is vivid and emotionally charged.
R.A.'s father embraced the song, playing it and attending his funeral.
Contrary to potential criticism, R.A.'s father loved the song and even drove around playing it. He also attended his funeral, indicating a positive reception and acceptance of the narrative R.A. presented, which was based on his father's life and experiences.
R.A. and his stepmother provided detailed, research-like information for the song's lyrics.
To ensure accuracy, R.A. interviewed his father for details about the war and his stepmother regarding the medical conditions of his disabled siblings. This meticulous approach, akin to investigative reporting, contributed to the song's authenticity and emotional weight.
The song critiques the U.S. government's handling of veterans and the Vietnam War's aftermath.
Beyond personal narrative, 'Uncommon Valor' serves as a critique of American institutions and policies, particularly concerning the treatment of veterans exposed to Agent Orange. This anti-establishment sentiment is a core element of hip-hop that R.A. champions.
'Uncommon Valor' resonates because it tells a true story with critical commentary on societal issues.
The song's success is attributed to its blend of a deeply personal story with a critique of American institutions, reflecting hip-hop's historical role as a voice of dissent. R.A. notes that storytelling and social commentary are vital elements often missing in contemporary music.
Ghostwriting and Hip-Hop Authenticity Debates
The historical prevalence of ghostwriting in hip-hop is often overlooked in modern critiques.
R.A. argues that ghostwriting was common in hip-hop's history, with artists collaborating in studios to create records. He cites examples like Kane writing for Biz Markie and Del for Ice Cube, suggesting that the focus should be on the final product and delivery, not solely on individual authorship, especially in a collaborative studio environment.
Modern criticism of ghostwriting, especially directed at artists like Drake, ignores past practices.
He contrasts the current scrutiny of artists like Drake for using ghostwriters with the 80s and 90s, when such collaborations were less judged. R.A. believes that who writes the lyrics is less important than how they are delivered and performed, provided it's not used deceptively in battle rap contexts.
R.A. believes an MC's delivery and performance are paramount, even over lyrical complexity.
R.A. emphasizes that a great flow and vocal delivery can make even simple lyrics compelling. He uses Drake as an example, noting that while his flow might be unconventional, his radio hits often have a unique spin that makes them palatable, even if not studied for lyrical technique.
The critique of Drake's relationship with his beat and lyrical content is noted.
While acknowledging Drake's success and unique approach, R.A. suggests that Drake's flow can be chaotic and his lyrical content sometimes simplistic, differing from the standards he values in MCing. However, he recognizes that Drake's music translates effectively on radio.
R.A. finds certain modern rapper's work, like Kendrick Lamar's, doesn't evoke the same 'fear' or admiration as older MCs.
He explains that while he respects Kendrick Lamar, his music doesn't consistently provide the same visceral reaction or inspiration ('fear') that he gets from studying the work of certain past MCs. This might be due to Kendrick's vocal style and delivery, which R.A. finds less resonant with his personal preferences.
R.A. praises Nas's song 'Poison' as a near-perfect hip-hop record.
He singles out Nas's track 'Poison' (likely referring to 'The Message' or 'Got Ur Self A...', or perhaps confused with G Rap's '4,5,6' which samples a different 'Poison') as an example of a flawless hip-hop record, highlighting its perfect construction and R.A.'s envious admiration for its execution.
Lupe Fiasco and Elzhi are MCs R.A. respects for their intellectual and complex lyricism.
R.A. admits he was initially late to appreciate Lupe Fiasco's intellectual rap style but grew to respect his bars. He also admires Elzhi from Slum Village, noting MCs who push lyrical boundaries and make him wish he'd written their lines.
The Great MC Debate: Rakim, G Rap, Kane, and More
Rakim is considered the pioneer of modern MCing, revolutionizing internal rhymes and lyrical content.
R.A. places Rakim at the beginning of the modern MC style, crediting him with introducing complex internal and polysyllabic rhymes, as well as philosophical depth. He believes Rakim created a benchmark that subsequent MCs have built upon, dividing hip-hop into 'before Rakim' and 'after Rakim'.
R.A. favors 80s hip-hop over the 90s, citing its originality and foundational impact.
Despite acknowledging the quality of 90s artists like Nas and Jay-Z, R.A. maintains his preference for the 80s due to its originality, innovation, and the raw energy of its foundational period. He argues that many 90s styles were developments of what originated in the 80s.
Live performance mastery is a key criterion for R.A. when evaluating MCs.
He highlights artists like Big Daddy Kane and Greg Nice for their exceptional live performance skills. R.A. values an MC's ability to captivate an audience and deliver flawlessly on stage, sometimes even above studio recording perfection, citing Kane's consistent stage presence as legendary.
R.A. praises Rakim's quotable lyrics and impactful delivery, comparing him favorably to Buster Rhymes.
He argues that Rakim's every word was quotable and could form the basis of a hit record due to his distinctive voice and delivery. When comparing Rakim to Buster Rhymes, R.A. suggests Rakim's work is more sample-worthy and consistently impactful, despite Buster's technical prowess.
Many 80s artists, like Rakim and Chuck D, had lyrics that were highly sample-able by DJs like DJ Premier.
R.A. echoes DJ Premier's sentiment that the most impactful MCs are those whose lyrics are so strong they can be easily sampled or isolated into hooks. He sees Rakim and Chuck D as prime examples of this, creating phrases that became iconic on their own.
R.A. believes Queen Latifah is a superior MC to Lauryn Hill, and Sal Rock is the first female MC.
He voices a strong opinion, placing Queen Latifah above Lauryn Hill in terms of MCing skill, and acknowledges Sha Rock as the historical first female MC. These rankings reflect his personal hierarchy and appreciation for different eras and styles.
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