James Brooks, also known as “3D,” is looking to secure a major record deal by January and has London already secured in his overseas tour. He will also be touring colleges two weekends out of every month. All this while he’s not hanging out in Tech.

Brooks, a McCormick junior, isn’t your average Northwestern student. He opened for artists like Lil Wayne, Ludacris, Ne-Yo and T.I. when he was only 16 to audiences of up to 8,000 people. He’s releasing the first out of four mixed tapes — all of which will be accompanied by a music video — on Sept. 26, and his back-to-school concert at the Keg this past Saturday was postponed so that it could be relocated to a bigger venue.

“[Music] was something that I was interested in,” said Brooks, who began rapping when he was seven after his cousins introduced him to a karaoke machine. “I’ve always liked music, being a part of it and seeing it on TV, so you know, it was something that I gave a try.”

Now, Brooks’ music is quickly catapulting him into stardom. He collaborated with Lupe Fiasco, among other successful artists, on his first mixed tape. And one of his songs, “Heavyweight Champion,” caught the attention of Busta Rhymes and Ludacris, who Brooks said want to remix it.

“They really loved the beat,” said Brooks, who will begin recording with major artists like Trey Songz and E-40 come December. “It’s a definite humbling experience being able to record with somebody that you listen to on the radio.”

The Arkansas native’s music has been described as a combination of rap, hip hop and R&B, but Brooks said his music is more versatile. For example, he has a few rock songs on his upcoming mixed tapes. It’s this versatility that led him to choose the name 3D.

“Music is so three-dimensional, you can look at it in a number of ways,” Brooks said. He said the name 3D shows his diversity as an artist, too, and is a nickname “that just kind of stuck with me growing up being in the studio, and it was something that I liked.”

Despite the success he has experienced, he still makes school a priority. Brooks tries to record during holidays and weekends and weeknights when he has time. He also said he’ll take work with him when he’s touring.

“It’s all about prioritizing,” said Brooks, who will probably cut a few extracurricular activities from his schedule and has practices with his band three times a week. “School is always going to be a top priority.”

The importance Brooks places on his education doesn’t slow him down though. He is currently working with a clothing brand, Pandarhand, in which $50 million has been invested. He is a “human billboard” for the line and deals with marketing and provides music, he said.

Brooks’ next big gig is his concert on Saturday. It will include a live band, opening act and a 45-minute set by Brooks that includes a “special surprise,” he said. Guest DJ Kwest_on, who has deejayed for artists like Common and Kanye West, will also be performing.

Northwestern has greatly influenced Brooks.

“I think [Northwestern] helped me develop lyrically — like I can actually say I know who I am as an artist,” Brooks said. “And I always thought I knew who I was ‘cause I’ve been rapping for so long that I just got comfortable doing a certain type of music.” He said the diversity on campus and the people he’s met have profoundly affected him.

Despite all the challenges that come with being a rising artist and a student, Brooks is not slowing down any time soon.

“It’s all about what you want,” Brooks said. “If you really want to do it, you’ll find a way to get it done.”

3D’s back-to-school concert is from 9 p.m. – 11 p.m. this Saturday with a $5 cover. Venue is yet to be announced. Ages 18 and up are welcome.

One round of ASG voting just wasn’t enough, apparently. Bill Pulte and Mike McGee ran closely enough to force a run-off vote, scheduled for this Friday. If you were one of the record 4,455 voters who cast a ballot, I’m sure you already have your mind made up (except for the Luke Adams crowd and the 18 of you who voted for Dickie Humps; find a new outlet for your expression). But for everyone else who forgot to vote or could care less about ASG elections (here!) and who suddenly feel spurred to participate in student democracy, who should you vote for? Sure, you could focus on the issues or which candidate’s platform would benefit you most, but BORRRRRRRRRRRRRRRING.

Thankfully, the two candidates remaining both have faux-rap videos online devoted to them. Forget matters of substance. Which candidate can spit the hottest fire? Well, in this case, neither candidate actually drops any verses, so it comes down to who has the best MC repping them. First up, the rap about Mike McGee:

The “Fresh Prince” beat seems played out at first, but whoever put this together mixed it up, adding a new twist to an old classic. The lyrics focus on positive change, casting McGee as the conscious candidate. Some of the rhymes are whack (”We got a new president, his name is Schapiro / that means change, there’s nothing to fear-o”), but it’s overall a very upbeat number about making Northwestern a better place. But not stupid upbeat, like that will.i.am Obama song. How about the Pulte rap?

OK, you probably figured out Bill Pulte in no way endorses this, especially since it explicitly tells you not to vote for Bill Pulte. Plus, it’s loaded with spelling errors. And that’s probably good, because if he seriously made a parody of the already-a-parody “I’m On A Boat,” he’d lose the valuable Netplay demographic (hey all six of you!). However, this Pulte diss does raise a valid point: was Bill Pulte in anyway involved with the Pike atrocity “Fratstar?” Did he contribute vocals? Did he give it his approval? Did he not just say “seriously guys, cut it out?” If it is revealed that Mr. Pulte is anyway associated with or not physically repulsed by “Fratstar,” he should pull out of this run-off election and record a heartfelt apology rap.

Obviously, deciding who to cast your presidential ballot for based on rap videos is stupid. But as a senior who has absolutely no stake in this election, I encourage you to follow your heart and vote for the candidate with the better song.

(And since Bill Pulte didn’t actually get a positive video featured in this post, I’ll give him a plug here. Well, sort of, because this pro-Pulte ad features all the hallmarks of a “The More You Know” spot.)

Clarification, 2:37 a.m.: This story has been clarified to reflect the fact that 4,455 students cast ballots, and 4,421 of those ballots were eligible. Thanks to Election Commissioner Paul David Shrader for the clarification.

With all due respect to Nasir’s heroic Untitled effort and Weezy F. Blogger’s double-platinum Tha Carter III, T.I.’s Paper Trail is the most completely satisfying album in a historic year for rap music. And though we’re all waiting anxiously for this year’s hall of fame roll-call of releases — Common, Kanye, Ludacris, Jay-Z and maybe (just maaybe) an Eminem comeback and Dr. Dre’s Detox — T.I. has given us, in his sixth and best studio effort, a record that might just hang on for Album of the Year once all is said and done.

Few records are so fully enthralling that you can listen to them straight through without skipping a track. Paper Trail is one of those rare exceptions. This album has a little bit of everything, but while Tha Carter III would be like Chili’s appetizer sampler, Paper Trail is Thanksgiving dinner. You want raw, unrelenting lyricism? Start yourself off with “56 Bars” and “I’m Illy.” Ladies? You can have “Whatever You Like.” Haters? T.I.P. would like to say, “What Up, What’s Haapnin?” Do you like to see superstars squash beef? Look no further than “On Top of the World,” where Ludacris delivers yet another lyrical beat-down on his guest verse. If you’re a fan of MTV-ready collabs, (not like this) then “Live Your Life” ft. Rihanna and “Dead and Gone” ft. Justin Timberlake are just what TRL ordered. Or would have liked to order. And don’t forget the clubs — the Swizz Beatz produced “Swing Ya Rag” is a certified banger. T.I. can go from predictably risqué (”Porn Star”) to profoundly reflective (”Slide Show” ft. John Legend) with incredible ease, and it’s this fluidity that makes the album so successful.

Awaiting a year-long prison term after pleading guilty to gun charges, T.I.’s release comes at a crossroads in his life. He responds to the situation in this album with a carefully refined balance of humility and confidence. And for a man who embodies the term “swagger,” you might expect it would be difficult to take a bite of humble pie. But with tracks like “Ready for Whatever,” “No Matter What” and “Dead and Gone,” T.I. admits his mistakes and comes out sounding stronger and more mature for them.

But don’t be mistaken. There’s still nobody with swagga like T.I.P. (with all due respect to Diddy, who makes eating Froot Loops seem cool). He reminds us of this by saving the best verse for last on “Swagga like Us,” alongside a pantheon of swag gods: Kanye, Lil Wayne and Jay-Z.

While we’ll have to wait and see if Paper Trail holds on as the best rap album of 2008, one thing is for certain: This record has certified T.I.’s status as a legend in the game. Behind masterful production — featuring DJ Toomp, Drumma Boy, Jim Jonsin, Swizz Beatz, Danjahandz and Kanye, among others — T.I. is at his lyrical best, and his maturity as a man and artist is evident. It may be a while before we next hear from Clifford Harris, so enjoy for now what he’s given us with Paper Trail: a classic.

Fifty years ago, Chicago’s Maxwell Street was alive with the blues. In the 1930s and 1940s, the Great Migration brought thousands of poor blacks to the city and Maxwell Street became their home. There they electrified the history of music and created the Chicago Blues. New York had jazz and New Orleans had Zydeco, but nobody had a sound like Chicago’s.

This is the Maxwell Street that musician Frank Scott Jr. used to play at, with friends like Freddy King and Junior Wells. Together they helped turn the acoustic delta blues into “a mournful cry,” as Phil Ranstrom, a documentarian who has dedicated two movies to Maxwell Street, calls it. “It came from black people who had been persecuted, who had been abused… and whether you’re singing a cappella or playing the harmonica, or just a guitar or beating on the drums or doing whatever it is, it’s a feeling. It’s an expression of pain in its rawest form.”

When Chicago decided to tear down the old Maxwell Street Market in 1994 to make room for the ever-expanding University of Illinois-Chicago, Scott built a bandstand. When the city leveled his bandstand, Scott was left on the streets, the last of the Maxwell Street bluesmen.

“Maxwell Street was very important to me, and when they took it down, they took everything,” Scott says.

Chicago was only ever two things: hog butcher to the world and home to the blues. And soon it might be neither. When storied blues musicians can’t make a living in the city, “everybody loses,” Ranstrom says: “Without the blues, Chicago is just another flyover city.” With the rise of hip-hop and the passing of many blues legends, the genre is more threatened than ever.

So what is Chicago doing to preserve its legacy? Well, it depends on who’s judging. The 25th annual Chicago Blues Festival takes place in the heart of the city this weekend, and Barry Dolins, the festival’s director, believes that it does quite a bit to protect the blues tradition.

“Chicago being the blues capital of the world, it’s only fitting that it should be the home of the world’s largest blues festival,” he says. “When there isn’t any major medium that’s presenting this music, the festival plays a major role in keeping that tradition alive.”

James Porter, a freelance roots music journalist, agrees, to an extent. “There’s a select group of survivors that they’ll roll out for one last go around. It’s nice that these people are still around, but by the same token there are a lot of lesser people who need that platform,” Porter says.

The Blues Fest has several stages where less-famous blues musicians play. For casual fans who are not looking for these musicians, however, it would appear to be a festival of those same survivors — B.B. King, Koko Taylor, Lonnie Brooks. Porter acknowledges that “it is good that Chicago promotes the blues festival as much as it does. On the down side of that, it doesn’t seem to be any really exciting new blues coming out right now.”

So the city isn’t on the cutting edge of promoting underground artists. No big surprise. But with many thriving, world-famous blues clubs, there’s got to be a stage somewhere.

Again, that is debated. Steve Balkin, a blues preservationist, dismisses most of these clubs as peddlers in a fake blues. “People come from all over the world to Chicago, and they want to see Chicago blues. Some of those people don’t know anything about the blues, so if they come in a North Side blues club with mostly white people in the audience, they’re satisfied. But for people who really like blues, they want to see it at the street level, and they want to see it in the midst of African-American audiences.”

Porter is possibly more disdainful, saying, “You’ve got people who go to some tourist trap club or sports bar, and you’ll hear people pound out ‘Sweet Home Chicago’ or ‘Hoochie Cootchie Man’ and think, ‘Oh wow, I saw some down home blues.’ When really it’s just a bar mitzvah band.”

Isabelle Libmann, the director of special events and public relations for Buddy Guy’s Legends, one of those so-called “tourist trap clubs,” says that offering new musicians a place to play is a top priority. “That’s one thing that we’re trying to do, is reach out to a younger generation, because if we don’t, it will be gone.”

It’s not difficult to see where her fear comes from. Rap and hip-hop have become ubiquitous in popular culture, replacing jazz and blues as the primary forms of African-American music.

Even Ronnie Baker Brooks, blues musician and son of blues legend Lonnie Brooks, felt this pressure growing up. “When hip-hop just come along, my friends used to laugh at me for listening to Howlin’ Wolf,” he says, referring to the Chicago blues legend. “They’d say, ‘What are you listening to? You’re not an old man.’ I’d say, ‘You don’t have to be an old man to listen to the blues.’”

Being an old man helps, however, when playing the blues. “It is an adult music. As Willie Dixon said, ‘It’s the facts of life.’ So to be able to sing about one’s experiences, it does take experiences,” says Dolan, though he admits that people as young as fourth-graders will perform at the Blues Fest this year.

Brooks is part of the younger generation of blues musicians, but at 41 years of age, it’s hard to see how he’ll have more appeal to teenagers than Kanye West. When kids are asked to choose between bling and blues, the choice is made for them.

“It’s a hip-hop world right now, but if it wasn’t for the blues, they wouldn’t have this hip-hop world,” Brooks says.

Many see rap as carrying on the blues tradition. Dr. Portia Maultsby, a professor of folklore at Indiana University and the director of its Archives of African American Music and Culture, says that the “blues still exists, it’s just been reformulated into a new style reflecting contemporary trends.” She is not worried about the change, saying, “Music will change because people are constantly changing.”

Dolins agrees, saying that “rap is in the continuum of talking blues.” He is more concerned about the effects than Maultsby is, however, adding, “In popular culture the forces of mass media really change folk music. And since there isn’t really any full-time radio or major print media that cover the blues, it may be in jeopardy.”

Brooks, who has worked with hip-hop artists on his last two CDs, believes that hip-hop may even have something to offer the blues. “In order for it to grow, we’re going to have to accept change. But when you put the change into it, you have to be true to the music and the people who came before you. It has to be authentic.”

When asked if he’s worried about the blues dying out, he discounts the idea.

“It’ll never die, because it’s the facts of life. As long as we have humans on earth, we’ll have the blues.”

There is no blues on Maxwell Street anymore. Frank Scott Jr. sits by himself, holding his guitar and following the frets while the rock and roll cover band in front of him draws a crowd by playing a Santana song. Maxwell Street knows “Black Magic Woman” now, but its eponymous “Maxwell Street Boogie” was forgotten long ago. Scott sits in the corner, alone, holding his guitar and waiting for someone to listen.

“I’m just trying to keep the blues alive,” says Frank with a stiff laugh. “I’m just trying to keep the blues alive.”

Pretty neat, and always a good time seeing a celebrity wearing an NU sweatshirt. Some of it seems a bit weird (why a shout-out to Bobb? Flat Top? Can’t find a word that rhymes with Chipotle?), but cute all the same. Also, does anyone jump in the lake at midnight? Further more, did the people who cheered for the Smokin’ Aces line actually see that movie? It sucked.

And hey, Common hates Bush! So do I! It’s a shame Obama isn’t running against Bush!

Formed in 2005, The Cool Kids create hip hop that, as they claim in their music, is “bringing ‘88 back.” Their rap style recalls ’80s groups such as Run DMC and Eric B. & Rakim. The duo has received high praise, the Los Angeles Times saying they are “one of the more promising new groups to emerge in recent years.” The Cool Kids have opened for M.I.A., and were also featured in an ad for music provider Rhapsody.

Personal opinion time: It’s an awesome grab (if they really are coming, all we’ve got to go off of right now is a MySpace tour listing), as The Cool Kids put on a sweet show. Common is great and all, but I honestly find what The Cool Kids do a lot more interesting and, more importantly, fun. Dillo Day 2008 already looks a billion times better than last year’s edition (and they had The Roots!).

Video for The Cool Kids bangin’ “Black Mags” below:

For purposes of keeping the term “old school” in check, I’m only picking hip-hop tunes from before 1997. Basically, when Notorious B.I.G. died, old school rap, as we currently sticker it, went out to. As for the 80’s…if it’s from the 80’s, it’s good.

Showstoppers

1. “When Doves Cry” by Prince and the Revolution

Prince hasn’t been getting enough representation on these lists so far, so here comes his first shout-out. Behind Michael Jackson (maybe), Prince is definitely one of the greatest artists of that decade. And here is one of his most recognizable ditties.

2. “(You Gotta) Fight For Your Right (To Party)” – The Beastie Boys

Oh, this song is so stupid. One of the most mindless songs ever written, strange since The Beasties did a lot of legitimately awesome stuff soon after. But this, almost idiotic. And that’s why it’s so awesome – this song require no thought, just go nuts over it. One of the party heavyweights of the decade.

3. “Parents Just Don’t Understand” by DJ Jazzy Jeff and The Fresh Prince

I’m not kidding – this song has to be here. People would riot otherwise.

4. “Nuthin’ But A G Thang” by Dr. Dre featuring Snoop Dogg

Rap classic, this almost embodies the silly “old school” idea so many people champion, only becasue I haven’t heard a rap quite like this one ever. So good, and Snoop Dogg’s big coming out party.

5. “Like A Prayer” by Madonna

A suprisingly hopeful, upbeat song, something dancers will need so, so badly now. Just don’t play the video, the burning crosses and black Jesus thing may not be everyone’s thing.

Avoid at all Costs

Pretty much anything a hair-rock band did. Except Guns N Roses, they cool.

A Few Other Songs To Include With No Reason

-”Beat It” by Michael Jackson
-”Come on Eileen” by Dexy’s Midnight Runners
- “My Adidas” by Run DMC
- “Straight Outta Compton” by N.W.A.
- “Teenage Riot” by Sonic Youth

Indie Songs That Would Work But Will Never Be Played
- “Laughing” by R.E.M. – R.E.M. obviously has to make an appearance (safe money: “End of the World”), so nothing to indie about them. But this song, off their debut album, always struck me as a soft but melodic number, which could be a nice little break from the furious “old school” beat being shot at dancers. And, I’m sure, the hair metal.

- “Debaser” by The Pixies – Lines like “slicing up eyeballs/I want you to know” aren’t going to help The Pixies’ case, but this song flat-out rocks. One of the most awesome opening guitar riffs ever, too.

- “The Boy With the Thorn in his Side” by The Smiths – The Smiths need some representation in this decade-themed block, so why not the song about a gay guy?

Great Videos to Show

- “Safety Dance” by Men Without Hats – Such a nerdy video. Of course NU could get behind this!

- “Once in a Lifetime” by Talking Heads – One of the greatest, albeit nerdiest, videos ever. Heads’ frontman David Byrne freaks out for a few minutes, but does it so darn well. Helps this is one of the greatest songs ever constructed.

- “Take on Me” by A-Ha – And here comes that warm wave of nostalgia….

The legendary Rakim raps: history has spoken. Photo by doughertybret on Flickr.com, licensed under Creative Commons.

The Hip Hop Live! Tour, which rolled into the House of Blues on Nov. 12, featured three talented emcees — Brother Ali, Ghostface Killah and Rakim — and one peerless live band. For each of the three rappers, LA-based Rhythm Roots Allstars provided blazing backing music on actual instruments, taking full advantage of the live sound and giving the emcees on hand an ideal forum to flex their lyrical prowess.

Underground emcee Brother Ali rhymed first on the night. Shifting from left-wing militancy in “Uncle Sam Goddamn” to shameless self-deprecation in “Forest Whitiker,” Ali whet the palate of the anxious crowd. However, no matter how good his rhymes were, Brother Ali was just an opener.

After a 30-minute break, Ironman, aka Ghostface Killah, graced the stage with a Staten Island swagger heightened by the three gold chains around his neck as well as the four street vets who backed him up on stage. While his crew poured the Hennessey, Ghost tore through classics like “Apollo Kids,” “Daytona 500″ and the unforgettable Wu anthem C.R.E.A.M. (Cash Rules Everything Around Me) in his trademark yelled delivery.

The night marked a sad milestone as well. Three years ago this week, Wu-Tang co-founder Ol’ Dirty Bastard died of an accidental overdose. Instead of weeping for the dead, Ghost performed ODB’s breakthrough hit, “Shimmy Shimmy Ya,” in front of the crowd’s sea of Wu-Tang hand signs.

Even though Rakim, the last performer of the night, is also a son of New York, there couldn’t have been more of a difference between him and Ghostface that night. At times Rakim whispered his lyrics, just to hear the crowd on point down to every last syllable. The ’80s hiphop veteran wrote many of his songs without choruses, allowing for introspective, verse-heavy raps. He also performed his and Eric B.’s classic, “Paid in Full,” a one-verse track that took hiphop from a DJ-driven world to the realm of the emcee.

At the end, Rakim slammed the mic down triumphantly on the stage to let all know that history had spoken.

Chicago’s hottest rising star, Lupe Fiasco, drops his heavily anticipated sophomore effort Lupe Fiasco’s The Cool on December 18. Like Jay-Z, Lupe has created a concept album, this one focusing on a character who dies, and comes back to life. No, not that guy. Two videos have hit the Internet so far: “Superstar” hit today (check it out here), while the street single “Dumb it Down” has been out for a little longer. Both are strong tracks, showing Mr. Fiasco isn’t a one-hit wonder.

Finally, the biggest rap releases of the holiday season comes courtesy of the 36 Chambers. Rap’s premier lyrical monster Ghostface Killah releases The Big Doe Rehab Dec. 4, the much-wanted follow-up to 2006’s stellar Fishscale. The track “We Celebrate” is making the Internet rounds, check it out here. But don’t go blowing all your money after picking up Ghost’s new LP, because the very next week the Wu-Tang Clan (including Killah) unveil 8 Diagrams. If you can’t wait until Dec. 11, head on over here to listen to the 8 Diagrams Mixtape, available for free as a download. And you thought hip-hop was dead.