Rhymefest's meeting with David Cameron

Now, let's talk about what this really means. When I met with David Cameron, this was not only a great moment in my own personal achievement, but it was also a great moment for the culture of Hip-Hop all over the world. There were so many interesting events in the course of my trip, but I'll skip those and get straight to the 'club-banger.'

First of all, next to Alicia Keys, I am the second major-label urban artist ever to enter the House of Commons in London on official business, as well as the first rapper to do so.

As I entered the House of Commons, I couldn't help but notice the two guards armed with machine guns who stood glaring at me as I was asked to remove my metals in order to pass through the security check. Tons of press, who obviously were not allowed in the building, got there a little too late to catch my entrance yet they still swarmed anticipating my exit. David Cameron's assistant came downstairs to meet my entourage which consisted of my UK A&R, my road manager, my label publicist, and the chairman and CEO of Sony BMG Music Entertainment UK and Ireland. No, not Clive Davis; an inconspicuous old gangsta named Ged Doherty.

I truly believe that the reason Ged accompanied me was to ensure that I didn't shit on Sony BMG for the lack of promotion given to my album BLUE COLLAR [in stores now]. Whatever. As we entered the halls where all of the UK policy-making goes down, the reality of what I was doing started to set in. David Cameron is slated to be the next Prime Minister of Britain. He is the leader of the Conservative Party, similar to the Republicans in the US. And just like in the States, his party is somewhat despised and distrusted by the people of African and West Indian descent (read Black folks). He has been known to not only make comments that can be perceived as disparaging to the Hip-Hop culture but also controversial comments concerning crime prevention, as well as "hug a hoodie" (read people who wear hooded tops). It was not only a political liability for him to meet with me, but also a potential "keep-it-real" disaster for me as a rapper. "Hell, I can't turn back; I've come this far. I gotta go through with it." His assistant invited us to sit in his office on a huge wraparound couch next to a window with a great view of Big Ben. As the secretaries entered the room filling all of our cups with English tea, I started to feel like more than a rapper; I was officially a diplomat.

David Cameron then burst into the room; a seemingly young man with tons of energy and a huge smile. I stood up to shake his hand and expressed [to him] my gratitude for his invitation. He then began to praise me for a well-written, brilliant letter. He asked me to have a seat and speak with him. I asked him to explain to me what exactly his positions were on the banning of Hip-Hop in the UK. A smirk came across his face as he sat back, exhaled then leaned forward to speak. "The press is so black & white," he explained. "There's no room for gray. If I say that Hip-Hop should have a change or reform, it gets translated as me saying 'ban it from Radio 1'." He continued, "I don't expect any form of musical expression to be banned off the air waves. All I'm saying is when I turn to a station and the first thing I hear is sirens and gunshots along with violent lyrics, I feel as though it raises questions about our young people's influences. All I'm saying is Hip-Hop seems to need more balance."

DING!!!

When he used that word , he struck a chord in what my whole message has been since before the release of my album BLUE COLLAR [in stores now]. Whatever. He continued, "If the radio's mix show plays 50 Cent then they should balance it with Kanye West. If they play Lil' Jon, they should balance it with an artist like yourself or Outkast." My response to him was in agreement with his analysis. However, I explained to Mr. Cameron -- "No, please call me Dave." -- I explained to Dave, that the problem I perceived him to have was one of authenticity. If the people didn't believe his concern with Hip-Hop to be genuine, then it would hurt him not only with his party but the urban base, as well. I imparted upon him if there was no policy in place from him or his party that addressed the disease of poverty and disenfranchisement, then no one would believe his concerns about their expression of those conditions. He then looked at me in amazement. I guess my articulate nature was a little more than what he expected from what The Daily Mail [a UK publication] had described as a "foul-mouthed, gangsta rapper." He said, "You're right. They'll never believe it from me. But, they would from YOU."

I was baffled by this statement.

Was he asking me to join his political cause?

Was he hinting that I should change my style to incorporate his message?

Was he offering me government support if I spread his ideas across the urban spectrum?

Well, keep reading, and let's answer that together.

I was contemplating a statement that Dave made to me about the people believing me over him, as it pertains to being genuine. I asked him what did he mean by that statement exactly, and he replied that if I were to make my music more positive & balanced and remove some of the profanities & misogynistic lyrics, then I could effectively influence the minds of young people who listen to Rhymefest across the world. He also suggested that this is part of my moral obligation to my community. As I sat back and took it all in, a smile came across my face as I thought to myself, "What does this dude know about my community, my moral obligation to it or the contributions I've already made?" I calmly shot back at him, "Mr. Cameron, you must understand: I don't make the decisions or put the money behind the records that you hear on the radio. For that, you would have to speak to Ged Doherty. This is the money guy. He makes the decisions on what records are marketed and promoted from the company."

Dave looked at me like a distant memory as he suddenly realized who the real boss was. He asked Ged, "What about it? Does your label have money to sponsor any programs that will promote music-for-good in various communities?" He explained that if artists like myself, Lyfe Jennings, Kanye West and even record execs could travel to certain communities and speak to young people about music, the making of it and various career opportunities within the industry, that [in his eyes] could constitute a positive change in urban music, overall.

He then repeated himself, "So, what about it? Does the label have the money to sponsor a program like that?" He then added that the government would not back such a program, but he would personally support it. He then asked again, "How about it? Does Sony BMG have the money to sponsor a music-for-good initiative?" Ged Doherty praised him for his suggestion and said, "Of course, something like that can be worked out." Whether or not this music-for-good program materializes remains to be seen. But, trust that I am staying on top of it, and I will let you know about any further developments. Now, I am going to give you some more dialogue about this later, but, for now, I want to know what you take from all of this.