What seems to be the most accepted and welcomed counterpart to Hip-Hop is the beloved genre of R&B. Over the years, this union often created the ultimate blend of edge and soul showing that Hip-Hop could evolve and expand while reaching new depths and a broader range of listeners.

Songs like Method Man and Mary J. Blige’s famed “You’re All I Need”, Nas and Lauryn Hill’s “If I Ruled The World”, and The Roots and Erykah Badu’s ‘You Got Me” are all prime examples of how the art of this particular collaboration could help shape an important sound and staple in Hip-Hop. However, some hook-ups come along every now and then to make you wonder why the hell they ever happened in the first place. It has to be a motive behind it, it just has to. Right? Of course, walk with me.

(more after jump)

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It doesn’t matter who you are, or where you come from; because at every point in our lives, we all wish that we could contact Doc Brown, jump in the DeLorean, and go back in time to fix at least one thing about ourselves.

As for artists, they probably wish they can do it more times than not, (especially when they get caught up in bogus contracts).

In this edition of “Logikally Speaking”, you’ll hear from Hot 97’s Drama King, DJ Kay Slay, veteran lyricists Edo G and Masta Ace, West Coast pioneer Warren G, comedian/actor Mike Epps, and the Boot Camp Clik’s Sean Price all discussing that particular topic alone.

Hopefully hearing from them will serve as a time machine of sorts for you…

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Growing up, I was an 80’s baby by default who, although a toddler, was exposed to each element of Hip-Hop from the breaking, scratching, and emceeing to the tagging and knowledge of the culture. See, my aunt and uncle were 80’s babies by Jay-Z’s standards (people who weren’t exactly born in the 80’s but ran the 80’s) and they worshiped the culture like it was a religion. I can recall my aunt and uncle’s weekly discussions with their crew about the latest rap beefs, the illest albums out, and the best moves to bust at the skating rink on Friday if the DJ played Eric B. & Rakim’s “Paid In Full”. They were my babysitters but I saw them as my teachers because although I sat in my high-chair with a iced oatmeal cookie and sippy cup full of Kool-Aid, I knew that Hip-hop was something in high-regards and definitely worth paying attention to. So I paid attention.

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This twelve-year-old boy tried to holla at me yesterday and when I looked at him as a mother would her precocious only child he told me to stop frontin’ and explained that I would be jealous when he used his kahonas on the shorty, chicken-head behind me. Jesus take the wheel. Listen, don’t get it twisted and think that I’m one of those pretentious knowledge droppers that indulges myself by deflecting my inadequacies, viciously accusing multi-conglomerate music corporations of purposely and solely corrupting the mind-sets and livelihood of our youngest citizens. No, no those types of people are revolting. But to keep it real, I just can’t help but feel like the metaphoric grumpy old Ms. Rose down everyone’s block, who doesn’t have any teeth but is still always talking, when I say, ‘chilren ain’t got no blasted-to-hell home training. Who do they think they is? Lil’ Wizzy or sum dumb shit?’

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Many artists in the Hip-Hop and R&B family have decided to throw their hat into the metaphoric acting ring in an attempt to expand their repertoire as well-rounded performers. In some instances, I believe this effort has proved well worth it while in others, it is blaringly apparent artists should stick to their music, solely. Whether in the booth or on the big screen, for example, Mos Def is one of my favorite performers and, acting-wise, has participated in such productions as Monster’s Ball, The Italian Job, Chappelle’s Show, Bamboozled, Topdog/Underdog, Something the Lord Made, and the award-winning HBO spoken word series, Def Poetry Jam. Other artists, as in the cringe-worthy performances of The Game and Big Boi, should stop while they’re not ahead.

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