???Following in the footsteps set by the Rove/Clarke debates, Fall Fest 2008 continued to shower students in political rhetoric, this time complimented by heart-beating, body-bumping bass pounding through stacks of speakers - with a healthy dose of southern-fried chauvinism thrown in for good measure.
???And with a lineup boasting more lyrically controversial MCs than Bill O'Reilly could shake a finger at, would you expect anything else?
???This year's SA-endorsed and delegated Fall Fest contained as many politically-charged and genre-defining rap artists of yesteryear as it did of today. Serving as both a "celebration" of the roots of real hip-hop and a blockbuster-billed performance, Biz Markie, Slick Rick, Big Daddy Kane, KRS-One, Nas and Ludacris schooled those in attendance on that of the old-school.
???Unfortunately, the big bang that was set to open the show fizzled. The overweight and seemingly overworked Biz Markie started off relatively well with an impressive showcase of his mixing skills, but later faltered as he took to the mic.
???After teasing an aroused crowd for longer than they cared for or deserved, Biz jumped into his one and only hit "Just a Friend." He then proceeded to forget the entire third verse of the song.
???That's right. He forgot the words to his own song. Hopefully the funds that each student mailed and delivered to UB in their SA fee that landed right in Biz Markie's wallet will go towards some sort of mental retention class. If not, one might just feel slighted.
???Markie did redeem himself ever so slightly though, introducing 1988s favorite one-eyed rapping storyteller Slick Rick and beat-boxing him for the genesis of his set. Known for his outlandish yet slick style and flow, Rick was draped in an almost unfathomable amount of gold chains, resembling what one would presume to be an urban Christmas tree.
???Alongside the gold-plated gifts wrapped around his neck, Rick told everyone's favorite "Children's Story." Following in his chained-roots was Big Daddy Kane, dressed in a white and yellow suit, complete with a fedora tilted at just the right angle to maintain stability atop his no-longer high-topped fade.
???Dancing alongside his brother, whose moves make Channing Tatum's look lame, Big Daddy Kane moved his body like no 40 year old should be able to and performed with a passion not seen in the earlier acts.
???With the energy at a high, Kane passed the mic to old friend and hip-hop historian KRS-One. One's knowledge and lyrical prowess had old fans reminiscing of the heyday of hip-hop and virgin ears and eyes glued open. After delivering a jaw-dropping freestyle on history and democracy that was as witty as it was dead-on, One delivered his sentiments on the current state of hip-hop.
???"That bullsh*t on your radio isn't hip-hop," One said. "Today you're experiencing real hip-hop culture."
???KRS-One's knowledge reigned supreme and after watching him perform, using his own slight at the university, it's become empirically clear that a receipt - scratch that - a degree doesn't make a man - his passion and will does. And you will be hard-pressed to find a brighter, more captivating and passionate emcee than KRS-One (were intentionally overlooking that Crazytown collaboration).
???And this is where the new era of rap and hip-hop stepped in. Disturbing the peace that Ludacris provided via offstage vocal enticement, a lengthy technical delay was met with a swarm of boos and restless chanting. After offering up "Give me something, I'm bored Godd*mnit" to his DJ, Ludacris took the stage with a mission.
???Coming off the recent burning down of his pool house, the Southern rapper performed with an intensity that one may not have expected. Running from side to side and commanding the raising of the horns and constant movement, Ludacris blew through favorites like "Southern Hospitality," "Area Codes," "Ho" and "Move."
???Keeping a pace and excitement that was as crisp and fresh as his appearance, Ludacris gave those in attendance no choice but to dance, grind, and drop bows courtesy of "Number 1 Spot" and "Money Maker."
???"Luda's set was so crazy," said Buffalo native Mark Ramirez. "People were crowd surfing and kicking people in the head. It was bananas. I was sweating afterwards."
???Before he left the pulpit to the sermon of "God's Son," Ludacris greeted everyone's desires with "My Fantasy."
???An appreciative crowd soon turned anxious, then hostile, as the wait between Luda and headliner Nas grew long. Miscellaneous items were thrown at the UB-provided emcees and threats were thrown right back. Thankfully the storm was quelled and the time for the headliner struck.
???Nasir Jones took the stage and wasted no time, immediately embarking upon "N.I.G.G.E.R. (The Slave and The Master)," off his just-released untitled album. With such a bold opening statement, Nas showed his poise and complete disregard for the ruckus caused by the naming of his song after the racial slur.
???Continuing his political onslaught, Nas went into "Sly Fox," an agitated jam professing his disdain for Fox News and all it represents.
???"I pledge allegiance to the . . . truth," proclaimed Nas. "Not the biased truth, not the liar's truth, the highest truth."
???Instead of doing a lot of talking, Nas stated that his album would speak for itself. And that it did. Alongside his radio hits "One Mic," "Hip Hop is Dead" and "Made You Look," nothing left quite an impression like "Black President," a lyrical ode to Presidential nominee Barack Obama.
???With the heart of Chuck D and the mind of KRS-One, Nas has etched his place in stone among the greatest rappers of all time. Seeing him perform with some of the forefathers of the genre and label mate/superstar Ludacris was a treat the Buffalo community, which hasn't had a big rap show in well over a year, could have never expected - and wont soon forget.
Photo: Courtesy of Laron Fomby
