Highlights

Campus News

Wildcat Weekly Minute for Nov. 17, 2011

A look at what's happening on campus this week.

Faith

Cleansed through the Cross

Dr. Quarles speaks on the efficacy of Christ's sacrifice at weekly chapel

Sports

LC hoops teams wrap up homestand with pair of wins

Off to Ozarks, UT-Dallas next

Organizations

LC media student give to Toys for Tots

More than 100 toys will help local charity

Campus Life

February is Heart Health Awareness Month

Stay healthy and 'God Red'

Culture

All the Shakespeare you could laugh at… and more!

tlc's adaptation of 'Shakespeare Abridged' pulls out all the stops

Special Coverage

LC brings another successful ‘Follow the Star’

'Christmas on the Hill' and 'Gala' add to festive weekend

Before they ruled pop, the Black Eyed Peas were “Bridging” creative “Gaps”

by Quinn Lavespere

A music review by Quinn Lavespere

There was a time when the Black Eyed Peas were remembered for bringing a fresh new perspective to music.

I’m not going to say that the group sold out when they inducted Fergie as a new member. I’m not even going to say that the group has lost all of its creativity. The Peas are still leagues ahead of many musical acts today (Soulja Boy and Gucci Mane, anyone?) in the listening department. I’m also not totally bitter at the Peas for wasting the great talent they had; I admit that “Let’s Get it Started” grew on me back in the day, and “Boom Boom Pow” doesn’t totally upset me either.

But I’m still not pleased with the Peas, and “Bridging the Gap” is one reason why.

When group members Will.I.Am, Alp.De.Alp, and Taboo dropped their debut album “Behind the Front” in 1998, they won critical acclaim for being fresh new faces emerging from Los Angeles’s underground hip-hop scene. Although it had enough curse words to earn a Parental Advisory Label, “Behind the Front” preached a message of brotherhood and nonviolence and lacked the misogyny found in many rap albums released at the time. Bolstered by the singles “Fallin’ Up” and “Joints and Jams”, “Behind the Front” proved that not only were the Peas a force to be dealt with, but that creativity was not dead in the rapidly declining hip-hop genre.

Two years later, the Peas—sticking to the script of their first album—released their sophomore album “Bridging the Gap.” In a year that was ruled by Eminem, the Peas were largely passed over by the listening public. Yet, they still earned critical acclaim from critics and fans. Listening to “Bridging the Gap,” I would say that praise was well earned.

Although it is not a classic, “Bridging the Gap” is the antithesis of everything the Peas stand for today. This is alternative hip-hop at its best, where violence is lamented, weak rappers are put in their place, and live instrumentation backs up talented MCs. This is an album that breathes what dedicated rap fans call “real hip hop.”

Picture songs such as “BEP Empire”, where the Peas enlist producer DJ Premier—considered by some rap fans to be the greatest producer in hip-hop history—to deliver a track that tramples weak competition and calls for a return “to the days of Soulsonic.” That same message is delivered on “Bringing it Back”, which longs for a return to the creative days of hip-hop, and “Get Original” challenges rappers to be more creative. The Mos Def collaboration “On My Own,” the title track, and “Tell Your Momma Come” are all calls for unity in a genre saturated with violence.

What about the “Joints and Jam” sequel “Weekends” and the hit single “Request Line” featuring Macy Gray? The former celebrates the good times of life while the latter recalls glorious days of talented rap groups and old-school rap traditions. The touching “Lil’ Lil” tells of Alp De. Alp’s early childhood in the Philippine ghetto, and the aptly titled “Rap Song” is a creative collaboration with Wyclef Jean that envisions women as different rap songs. In addition to this creative song, the Peas go against the grain by using several different languages in certain tracks on “Bridging the Gap.”

Due to language (some usage of the S and N words and 2 edited F-words), “Bridging the Gap” is not for all listeners. Compared to many rap albums, though, the Peas’ sophomore effort is rather tame; some tracks on “Bridging the Gap” have little to no cursing at all. Like “Behind the Front,” this album is refreshingly free of disrespect toward women.

Can you imagine the Black Eyed Peas preaching against the evil of money today like they did on this album? I can’t. Fergie, in my opinion, simply does not cut it for a group of this caliber, though I have no personal animosity toward her. Although this is point that could be argued extensively, I truly believe that in order to become pop connoisseurs, the Peas sold the very soul that made them a bright light for hip-hop.

What a shame. I give “Bridging the Gap” 4.5 out of 5 stars.

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