I don’t hate Drake.

There, I said it.

Don’t know the dude, never met him. I think he’s a talented cat, rappin’ and actin’ and sangin’ and all that.

He’s even got the only record spinnin’ on urban radio that I don’t hate more than the KKK hates Obama.

But that doesn’t make him the savior of Hip-Hop.

Not by a longshot.

However, apparently some real CEO’s (not the n****as in your hood with business cards for their record label and their car wash, with numbers scratched out) these n****as inhabit whole floors of skyscrapers and have anointed Drake “NEXT.”

I can see it now, intra-office memos written in invisible ink, phone calls where coded phrases like “bury the sun” are uttered, secret communiques transported by carrier pigeon.

Clandestine meetings on park benches where identical briefcases are exchanged.

Limos pulling up to a rinky d### bodega in Brooklyn, with the shrouded occupants going through a hidden door behind the counter, down a secret passageway lined with platinum plaques. The passage leading to an underground fortress, that either looks like a witches’ coven or the f***ing NORAD bunker.

They’re all here.

All of them.

Morris. Bronfman. Cohen. Rhone. Liles. Reid. Greenwald. Iovine.

All of them.

Sitting in thrones at a huge table carved out of an ancient oak tree, drinking from golden goblets filled with a substance that bears an uncanny resemblance to blood.

These are the people who make the decisions. They decide whose careers thrive and who ends up on a f***ing milk carton in XXL.

These are the folks who operate the proverbial “MACHINE,” and they can George Bush the button whenever they feel like it.

And they have convened for one reason, and one reason only.

DRAKE.

Yeah, that sounds like some real Skull and Bones bulls**t, right?

It probably is, but I’m telling you n****as, something is afoot (I always wanted to f###### say that – “afoot”).

Drake was buzzing ridiculously before he actually signed his deal, but there was definitely an underlying invisible current moving things along. Somebody who decides their own f**king salary had also decided to make Drake the next household name.

Now, I don’t want to take anything from the guy, he can rhyme. But I’m from Detroit, the home of eLZhi, Royce da 5′ 9″, GuiltySimpson, and Eminem. It takes a lot for any rapper/MC to impress me lyrically, and Drake hasn’t done it yet.

Of course what I think makes no f***ing difference in the greater scheme of things because someone who is WAY above my pay grade is highly impressed by him and thinks he’s the best thing since Blackberries.

Is this just grass roots marketing at its finest?

Are we watching the natural organic growth of the next Mega-Star? Did Bush know about the Towers before they fell? Was there really another shooter on the Grassy Knoll?

Who the f**k knows.

THE DRAKE IDENTITY

All I know is, some kid that used to play a character named “Wheelchair Jimmy” on teen TV series “DEGRASSI HIGH” is supposedly all set to become “the next Jay-Z.”

And he’s from CANADA.

The New Frontier, the First Rapper from an untapped region (although I think Kardinal Offishall, Choclair, Saukrates, Bishop Brigante and Tona may dispute that).

In this situation, Drake’s citizenship is working to his advantage,along with the fact that although Degrassi was seen in the U.S., it was set in Canada and primarily broadcast there.

Please believe if Drake was on muthaf***ing “SAVED BY THE BELL,” that would be the ONLY medium where you’d ever see him rhyming.

Don’t get me wrong,though,the boy has been puttin’ his work in and racking up co-signs like Obama at a NAACP rally.

Lil Wayne.

Kanye.

Jay-Z.

It’s been rumored that he ghostwrites for Wayne, he made Kanye forget that he had his OWN artists like Kid Cudi and Big Sean,and Jay-Z got him on BP3 (although he’s singin’ on it,not rhymin’.)

I will say that Drake definitely knows how to make actual records,and his management team is currently at the top of their game,got all the smoke and mirrors firmly in place.

If Drake can make it through the inevitable backlash that comes with oversaturation and success he may have some staying power in this game.

He already made it through both “KNEEGATE” and “BREASTGATE” and the Garanimals shirts he rocks with Mr. Rogers sweaters are sure to be all the rage this fall in suburban high schools everywhere.

Couple this with the fact that somewhere, behind the scenes, he has an omnipotent puppeteer plucking and pulling all the right strings for him, Drake can’t lose, just like Parke rLewis.

I know the Skulls…I mean, the CEO’s almost fainted when they saw him. Clean cut, young. Already on TV. Co-signed by the self-proclaimed Best Rapper Alive himself. Sings, too. Half-Black,Half-Jewish.

The Music Industry Messiah.

They were probably all calling, texting and emailing each other all at once, putting their dibbs in. One yells, “I want his publishing!” Another screams, “I want book rights!” Another still barks, “I want his head!” The last one, “I want his knees!” Well, the dude who got the knees is probably a little Lawry’s at the moment.

You get the idea though.

Everybody wants a piece.

They just love them some Drake pie. Drake may actually get the last laugh in all this s**t, word on the street is he owns his masters.

THE EMINEM FACTOR

I wouldn’t even be writing this s**t if it weren’t for the release of that “FOREVER” record last week.

Until then I just thought that Drake had the best management team in the world and a four leaf clover in his pocket. Of course Kanye and Lil Wayne were a given to be on that record to support their brethren, but when Mr.Mathers decided to breathe on the mic, that was the clincher for me.

That’s when I KNEW something was AFOOT. (I got to say that s**t TWICE in one column, I’m on a f***ing roll). By Eminem actually spitting a verse that actually sounds like EMI-MUTHAF***ING-NEM, and Jimmy Iovine actually signing off on said verse, I knew there was some powerful voodoo at work.

Either that or Slim Shady just wanted to s**t on those other two guys on a record and this joint was the perfect opportunity.

THE DRAKE ULTIMATUM

Eventually, Drake’s going to have to release his major label project, and I’m sure “THE POWERS THAT BE” are going to pull out ALL the stops for it.

I seriously doubt anybody else’s release date is going to be anywhere near it, unless it’s on Super Tuesday. His album’s gonna have all the bells and whistles.

And then it’s going to be judged.

Just like everybody else’s s**t. It’s gonna leak, get reviews, both good and bad, and then on a Tuesday morning, we’ll see what’s popping.

Then the following week,when the scans are in, we’ll see what’s REALLY popping.

He’s FAR from the worst rapper in this climate and he should be able to do numbers.

Maybe he sells 20, 000. Maybe his label will buy an additional 100,000 copies of his record and he debuts at Number 1.

Maybe he sells a millie first week.

Maybe this is all bulls**t and there are no All Powerful Record Gods who have seen fit to give Drake their blessing.

Maybe he just has pictures of some “higher up” at Universal in a compromising position with a bunch of young Asian boys in a Turkish bath.

Maybe.

In 1993 the film A Bronx Tale was released chronicling the life of a young Italian Boy growing up in 1960’s Brooklyn. The film finds the main character having to make choices in life despite the feelings of the community surrounding him. Should he join the mob and live a life of violence? Should he continue an interracial relationship in the face of a community that did not approve? The film was Robert Dinero’s directorial debut and received critical acclaim. However, the director was not the only one debuting in the film. It was also the first major movie role for a young actress name Taral Hicks.

The young thespian went on to play in Just Cause with Sean Connery and Laurence Fishburne and eventually stared in a short for the HBO series Subway Stories. The short, directed by Spike Lee, featured Hick’s singing ability and eventually led to a contract with Motown Records.

Then came the role for which Taral is widely known to many in the Hip Hop community. As Keisha, Taral captured audiences’ attention in the Hype Williams helmed cult classic Belly.

Taral has been steadily working on catching the audiences’ attention once again. She, like the main character in A Bronx Tale, is trying to make the right choices in a community that doesn’t see things quite the same. She sits down with AllHipHop.com to discuss why the Hollywood Community is not pushing African American actors, her new movie, and her latest work in the music industry.

AllHipHop.com: Out of all the roles that you have played in your career what is one that truly stands out to you?

Taral Hicks: Of course I really enjoyed being apart of A Bronx Tale. One reason is that I got to work with Robert Dinero. Also I was one of the only darker females on the set and I had a prominent part in a film that dealt with some serious interracial themes. I had never really done any screen work before that movie so I think I was in awe the whole shoot. It was just awesome. After that it would have to be Subway stories because I got the opportunity to sing. I still come across people that say they were touched by the scene, and that in itself is my goal in acting. In all my work I want to be able to touch people with my work. I loved Belly because Keisha was such a challenging role for me. I was so far from the character even though I grew up in the Bronx. I came from a Christian family and that character was a challenge which helped me to gain a wider audience.

AllHipHop.com: Like fans on AllHipHop.com.

Taral Hicks: Yeah like fans on AllHipHop.com [laughs].

AllHipHop.com: You mentioned Subway Stories. That short is actually what led to your recording contract with Motown. Are you still involved with any musical projects?

Taral Hicks: Yes I am. I am still doing work but it’s a little different this time. I’m actually working on a gospel cd which is influenced by Hip Hop and R&B. I’m just trying to create inspirational music that I like with a positive message. I love the sound coming from artists like Mary Mary. Their song “It’s the God in Me” is how I try to live my life.

AllHipHop.com: So this is going to be a Gospel album?

Taral Hicks: Inspirational Hip Hop and Gospel influence. I’m sure those fans are out there. That’s the kind of music that we need right now especially with the economic times we are going through.

AllHipHop.com: Recently Nia Long made some comments about musical artists moving into the acting arena. She credited people like Jamie Fox for doing such and excellent job but also hinted at the fact that certain artists that come over do not really add to the craft. Being that you do both music and acting what is your take on artists crossing over?

Taral Hicks: You have both sides There was the late Tupac who was a Hip Hop story but also a phenomenal actor. I believe that if you can act you get the role. At the end of the day acting is something that comes from within. Some people have it and some people don’t. There are Hip Hop artist out there that have it. Artists like Ludacris have it. The networks see that and grab it. Those of us that are not getting work can’t discriminate because someone else got it. God has blessed some people with more than one talent and they should showcase it. Sometimes it’s just what happens first. Jamie always sang but the acting thing blasted off first. That happens a lot in our industry.

AllHipHop.com: Let’s talk about your new movie, Disciple, which is going to start filming soon.

Taral Hicks: Well, Disciple is a psychological thriller which is very different for film these days because it stars two African American lawyers out to put away a killer. I say it’s different because two women of the darker shade do not usually get to play the lead in a movie. We are just really excited to put a different image out there for young black sisters. This role is my dream role. Playing a strong, high powered lawyer that is full of confidence. Plus I have the opportunity to play a mature woman. People are so use to seeing me in young girl roles that it’s nice to play a more adult part.

AllHipHop.com: Your co-star actually owns the production company that’s bringing the movie to the public, right?

Taral Hicks: Yes. Tanya Thompson and her husband have a production company called Solar Circuit Entertainment. They are new and are looking to create some pretty exciting things in the industry. I just really wanted to be apart of this because I believe in them and think they are going to bring some quality work to the viewers.

AllHipHop.com: You’ve spoken about quality roles for African Americans in the movie industry. As an individual that has been acting since the early nineties what are some of the changes you have seen for black actors, if any?

Taral Hicks: It is definitely not getting easier. There are not enough of us out there to showcase our talents as darker women. The screen continues to get lighter and lighter. Whenever we have an image out there that we can point to that image gets snatched. I would like to put an end to that. We need to let the networks know that we are beautiful, talented, and we want to work. We want an opportunity to showcase ourselves, our culture, and what we are about. It shouldn’t always be about the baby momma or the girl from the hood because we are more than that. We are doctors. We are lawyers. We are owners of companies. We are pioneers and moguls and we would like to see more of that image. Don’t get me wrong…every shade, and I emphasize every shade, of black is beautiful, but we would like to see more of the darker shades represented. A little more Gabrielle Union. A little more Naomi Cambells in fashion. There was a period we pushed for all colors to be represented but now it looks like we are moving back in the other direction. It’s going to be up to us to help those images get back out there.

AllHipHop.com: Why do you think the “snatch back” of black images as you said earlier occurs? Why doesn’t the image you are trying to get out stay in the public?

Taral Hicks: I think it’s because of the people behind the projects. People will say “I want to go with the Halle Berry type because that’s what sells.” Companies are just going with what the money man says and if they don’t want certain images then the public doesn’t get them. This is why I’m grateful to a company like Solar Circuit because they are focused on getting our image out into the public. That’s really all I can say because in the end money talks. Money speaks. We just need more production companies that are willing to take the risk of casting darker skin women as opposed to throwing in a couple here and there.

AllHipHop.com: Now, Tyler Perry has his production company and that is pretty successful. Plus there are more movies in the straight-to-DVD category that feature black talent. What is your take on some of those films?

Taral Hicks: Doing the DVD’s definitely help to keep a lot of us visual or in the public eye. One of the reasons why a lot of actors take those movies is because they need the job. But for 90% of us, this is our love. So whether it is on the DVD or the big screen we are going to continue to act because we love it. It might not be the big role that we want at that moment but it is still work. Now-a-days you have a lot of people jumping into DVD just as quick as you can blink your eye, but that has probably more to do with the economy. Networks and studios are not putting up the kind of money that they use to for certain projects because the films that are coming out are not making as much money. A lot of people don’t want to push the little films because they would rather see the big action film with a big name actor. Tyler Perry has been very fortunate because he is an excellent writer, he has wonderful actors, and they put their best foot forward. Do to that he has had a lot of success. It shows that we, as fans, need to support what we want out of this industry because otherwise they will sit on us. They will ignore us. I admire Tyler Perry for putting out an image and saying this is our story and if you put it in theaters it will sell. We just want more of us to have that opportunity.

This is a very simple editorial to write.

At this point, Jay-Z has had the longest reign (key word reign) from a

single artist in Hip-Hop history and that is a good thing for a genre

that is still young in relationship to all others.

So, when I see a rapper make it to 40 years of age (on Dec. 4) with 11

albums, countless freestyles, battles that, for the most part, range

between classic and rock solid, I feel proud. Be clear, this is not

“jockin’ Jay-Z” (even though I admit he is in my Top 5 Dead or Alive).

Hip-Hop’s memory is a bit like that dude out in The Bay – too short – so

its time for a refresher course. You know, what scratch the refresher

course, because you already know what it is, right? We know the music,

the business, the awards, the accomplishments and the other frivolous

stuff that we likely have tucked in the recesses of the mind.

Right?

So, what is up with all the hate directed towards Jay-Z? I don’t mean

hate as in jealously, because that’s something different. I don’t mean

hate as in skepticism of a rapper that is moving into the next phase

of his career. I mean, straight up loathing like calling him an “Old

A** N***a” or “Gray-Z” with malice. Now, if you hate, call it that,

but if you do, its probably time to check yourself as a member of

Hip-Hop.

In the year 2009, Jay-Z is one of a few that still represents a “its

bigger than Hip-Hop” stance that we have to hold dear. The notion is

we can do things bigger and better than is expected of us. I have to

admit, I was one of the people that wanted to see Jay-Z go toe-to-toe

with The Game. Why? For the sport of Hip-Hop, even though the root of

the “beef” was as base and petty as it gets. For me, it was a bit

selfish as I am sure it was for a number of people.

But, then I saw Jay-Z on Bill Maher’s HBO show representing the

culture (and promoting his new album) with intelligence and wit. Then,

I saw him pushing the September 11 concert at Madison Square Garden,

where he would be giving back to the still-grieving families.

Strategically from a Hip-Hop standpoint, it’s challenging to properly

engage with a battle cat like Game and have a relationship with the

president of the United States. And then there is this new album –

Blueprint 3.

I’ve heard it.

I like it a lot. There are certain songs that are perfect and others

that are not-so-perfect. But, what got me was that the album was a

departure from the norm and it exuded growth from an individual that

has actually grown as a person so many years. He once sold drugs.

Jay’s made his money. He found his wife. He’s got his team, his

friends, his associates. Hey, I admit, I’d love to hear a Blueprint 4

with only Just Blaze, Kanye and Preemo, but that’s not likely to

happen. BP3 does not mean recreate BP1.

Jay-Z’s doing what artists – key word artists – are supposed to do.

Evolve. Isn’t that what we are supposed to do as human beings, move

onward and upward? The album’s got gems on it too even though upon

first listen, you may miss them or mistake them for something else

like raw arrogance. I’ll admit, after the first listen, I got up from

my computer and took a 30-minute drive. I came back and listened again

and I’ve been listening ever since.

Lets continue on with the notion of growth and the idea of that

Jay-Z’s success being bigger than Hip-Hop. It is interesting that a

number of newer artists are represented on Jay’s album and I would

venture to say that Kanye West and Alicia Keys are the youngest people

on Blueprint 3. None of these guys, save Drake, has seen any meteoric

success yet and the verdict is still out on Drake from a

commercial/mainstream viability level. Jay’s success is J. Cole’s

success is Kid Cudi’s success is Drake’s success is Hip-Hop’s success.

Jay-Z’s an older artist for sure, but don’t thing one second that his

success doesn’t represent the viability of Hip-Hop has a whole. Sorry

to say, but Slaughterhouse sold a paltry 18,000 records and that was a

damn good album from four of the best emcees in the game. “We” didn’t

run out and support it even though we pretended we did on the

Internet. I did and I will support BP3 too.

It is high time Hip-Hop decide what it wants to do. Do you want to

live or do you want to die? Do you want to hoist up your stars or do

you want to drag them down like literal crabs in a barrel. It’s bad

enough that the mainstream has continually doubted Hip-Hop since its

inception and we have defined the odds every step of the way. Why are

we doing it to ourselves now? I never heard of a young rockers like

Blink 182 attempt to tear U2 a new one just because they came out in

the 80’s. I don’t see Britney Spears messing with Madonna’s life and

Madonna’s over 50…still doing it. Jay-Z, at his worst, is still a

better artist that 99.99% of all rappers in existence. Come on, son.

Jay-Z had a song from the Blueprint 2 that said, “I’ll show you how to

do this, son.” I believe he’s doing it now, but I question strongly

whether a Hip-Hop Nation that could benefit from this example is

actually watching what he’s showing. I advise the young and the old to

pay closer attention and make the distinction between hate and

criticism.

Before I finish, ask yourself: What do you want from Jay-Z? You want

something, that is clear. I just can’t determine what it is.

Digital Bonus:

There has always been this comparison of Jay-Z to Michael Jordan. I

thought it was interesting that 46-year-old Jordan – in business

attire – recently took the time to school a young Slam Ball player

named Chris “The Ghetto Bird” Young. Hmmm…reminds me of Jay-Z and some

of his young contemporaries.

Come to think of it…I “hated” Jordan when he was winning all

those championships with the Chicago Bulls. My team was the

Philadelphia 76ers (The Sixers). I guess it comes with the terrain.