ip-Hop is everywhere but still manages to remain exclusionary. Even the most casual of hip-hop observers takes enough pride and ownership of it to consider themselves experts. Marketers realizing the cash value behind the art, culture, or lifestyle (depending on who you ask) merge hip-hop with anything in order to make a buck, simultaneously making their product more “urban.” In an effort to preserve the essence of hip-hop; the fundamentalists, b-boys, or older heads are quick to proclaim what hip-hop is or isn’t.

But emcees are even more common than the hip-hoplogists and the few that make it are often undeserving, ungrateful, cocky, condescending bastards. Not to sound bitter. (HipHopGame has no problem saying a much-needed fuck you to the ones who ride their own dick more than the groupies) Consequently our featured artists aren’t just talented, they're cool as hell, people whom appreciate their fans and the success they’ve been blessed with. Mel Smalls better known to the rap world as Drag-On is no exception. His laid back humble demeanor is a breath of fresh air. When asked if he liked doing interviews he responded: “This is what I do. I live and breathe this. Without this I’m in jail baby.”

People like Drag (who is from the Bronx dale projects) with humble beginnings and reach a certain level of celebrity are a source to inner-city youth because they have ‘made it’. “Rappers could be role models. Like a role model meaning you trying to impress and encourage the kids to do something positive. I’ve been through the struggle. The only thing I can tell the kids is to stay focused on what you do and always have faith.”
In the rap game a sob story is as needed for mainstream appeal and validity as a platinum chain. In this, Drag does not disappoint. Like the title of his sophomore album suggests, the twenty-six year old has been to hell and back. It’s been four years since Drag’s first album and Ruff Ryders isn’t the powerhouse that it once was. Drag just might be swimming upstream. It’s going to take the same motivation to put him back on the map as it did for his to overcome homelessness, family obstacles, and the New York City’s streets. But don’t get it twisted. Drag hasn’t had his feet kicked up. He’s kept his name out there by doing his thing in Tinsel town and gracing mixtapes.

Now he’s back with a new album and focused on cementing his status in the rap game by giving fans a feel for who he is: “I want them to see how Drag sees things…I have so many different flows. Every song sounds totally different…I try to touch every crowd that is out there. I try to touch the hardcore crowd, I try to touch the Nelly crowd, I try to touch that Outkast crowd, I try to touch the South, and I try to touch the West…” Yet, Drag contends that he is not compromising artistic or personal integrity, “All I’m trying to do is be heard and felt across the world. Not just New York City because I’m from New York.”

Today, hip-hop has the most economic and political power than it’s ever had, yet something has gone horribly astray. Drag-on put is simply but eloquently: “It’s so political. It’s a little too political. You know what I’m saying? I think they’ve lost focus on what it’s really about. I can’t say they’ve lost focus completely on what’s hip-hop, but they’ve lost focus completely on what hip-hop is about and hip-hop is about the people. And they’ve completely tuned that out. It’s not about the people anymore. You know that right? It’s not about the people. Look, people can call the radio everyday and request your song. If the deejay don’t like it, they not going to play it.”

Perhaps Drag (like underground artists) hasn’t gotten enough radio spins because of payola and personal vendettas. Maybe this is what stops him from reaching his potential and leaving up to the hype that surrounded him when he blazed verses on tracks such as “Down Bottom.” However, Drag is going to continue spitting flames and keep his name out there not only because of his lyrical and acting abilities but because of his spirit. Hey, he convinced me to buy his album, maybe the masses will follow.

And for those like me who are growing more and more disillusioned with hip-hop I leave you with Drag-On’s good tidings, “I don’t think hip-hop can die out. It’s too strong. Hip-hop now is like a culture. It’s like a nationality. If someone were to ask you what’s your nationality; are you Black, are you white, are you hip-hop are you R&B. Getting rid of hip-hop is like getting rid of a whole race of people. It’s like killing all the Chinese.”
by Banke Awopetu