Now before a lot of you NY heads come after me and send me a lot of emails saying “I’m not real hip hop head” or I’m hatin on NY. Let me be the first to say that I love NY hip hop as much as any region. Even though I grew up listening to nothing but West Coast and Dirty South music. Ive always loved NY hip hop and respected because it was the original orgin of hip hop and where it started in the first place.
Everytime I would check out an album from an artist thats from the Tri State, I feel it takes you on a mindful journey on where their from and what really goes on in the mean streets of New York. You can get a sense of knowledge of their culture, their slang, their style of dress and their swagger. Lyrically They were a bit more in-depth with their stories and a bit more complex with the lyricism so thats what made them have ideninity of their own
But as of now, The NY rap scene doesn’t interest me. I’m gonna list alot of my disinterest, the problems on why NY isn’t regaining their dominance like in the glory days and the solutions on how the NY rap scene can survive in 2011:
Everybody is about pride, ego and separation but nothing good is coming out of the situation out of being stubborn. We all love beef records because it causes the excitement for the game but after years and years, Its time to let it go, come together(with the right intentions) and put out some classic records.
Just imagine 50 setting up a tour for all these up and coming acts or already established acts that are getting ignored by the labels? Or if crews like Dipset would have stayed together instead of letting egos get the best of them?
The same situation that happened with the West Coast is now happening to NY. Everybody is clickish, Artist A don’t wanna work with Artist B because Artists’s A security guard snuffed out Artist B’s makeup man. A huge figure such as Puffy or JayZ need to do what Snoop did 3 years ago and arrange a press conference for NY artists to meet up and squash alot of indifference because there’s nothing good coming out of these vendettas.
50 Cent’s road to riches was one of those rare out of the ordinary deals in hip hop that only happens every couple of years. Ever since 50 came out with How to Rob, Alot of these new cats wanna come into the game and start name dropping and disses to get their name out there thinking its an easy way to get attention. But the difference is when 50 did it.. He was original, witty, and the track was very entertaining. These dudes are doing it because they think it’s a gimmick thats gonna easily sell records and one more thing..
Leave that man’s life alone and talk about situations going on in YOUR life. Which leads me to 3:
Many of the rappers today dont know how to balance their subject manner. Saigon, Papoose, Termmonlogy and a few others are a exception. But the majority of the rookies are spitting the same ol talk about how many bitches he fucked, how many guns he busted or how much coke he sold The only people who can pull off the thugged out talk and make it actually sound dope are cats like Fabolous, Big L, The Clipse and many others.
Social Commentary always have to be a key factor within Hip Hop.. Its like the vegetables and health food we needs for our mind to be knowledgable and thats what made NY stand out. Especially when we had groups like Wu Tang kicking the 5% talk, KRS one talking about building with the Gods, Rakim, Big Daddy Kane and many others bringing science into the table.
Even though albums such as Cuban Linx, Reasonable Doubt, It was Written, and many other albums that came out in the glory days were considered negative because of the gangsta bravado, and harsh expression of the street life. They still had songs in there that provided the positive balance elements that made the music standout as timeless.
Not only for NY Hip Hop but Hip Hop as a culture seems to be a real good reflection of what Black America is today. What you see in Black America nowadays with these young cats is that their not respecting the Orignals or their elders. Hip Hop seems to be the only genre that shows lack of respect for legends for the people that put their life and career on the front line to make it happen for the future.
The same thing is happening in Hip Hop. I’m tired of hearing all of these new jacks whine and cry about guys like Nas, Jay, KRS, Wu Tang, Rakim, and many other “Old School Niggas” that they claim are holding them back from eating. NEWSFLASH.. Maybe if you new cats would actually step your game up and stop putting out garbage then maybe the veterans wouldn’t have to come out every year to drop albums to keep your damn city relevant.
And what kills me is that the same people who would cry about the veterans aint moving away are the ones that failed at their chance to succeed so the OGs have to take the torch back until they can be able to handle it. Just like in Wrestling where they have given guys like The Miz, and Jack Swagger a run. They thought they were ready to run the game but they couldn’t handle it so the veterans had to step back in and vaporize the credibility.
Alot of these new dudes arent bringing nothing new to the game and don’t have the heart, the material and the mindset to lead at this moment. A lot of cats wanna be leaders and bosses but they don’t wanna be students.
5. No respect for other regions
Theres one thing I can’t stand about alot of NY pursuits is that alot of them are very arrogant. They figure that if it aint from NY then it aint “pure hip hop” or “real hip hop”. Theres wack music in every region, Me being from the South, I’ll be the first to admit to it. But New Yorker’s are so stubborn that they never wanna admit that they have a lot of wack music coming from that region..
Lets be for real.. Memphis Bleek? Uncle Murder? Pinz? The Black Sopranos? J-Hood? Those Aunt Jackie and Chicken Noodle Soup cats? Theres alot of wack music coming from the East just as much as the South and the West.
But if a Southern artist goes to NY, He’s not gonna get that same love. And what makes it even more sicking is that alot of NY rappers wanna talk bad about other regions but are quick to copy when its trendy.
Rappers in NY are now wearing rags, gang banging, riding on Old school lowrider cars, wearing grills, making drinks called sizzurp and just flat-out biting every style thats out there when its hot. When I think of East Coast, I think cold ass weather, big coats, army fatigues, timberland boots, cold-blooded production and complexable rhymes. NY is trying to be everybody else but not themselves and that whats also killing them. NY has an identity crisis and need to reinvent their sound.
The bottom line is that When I think of New York Hip Hop, I don’t wanna have lowriders, grills, candy paint, sizzurp, gang banging, or nothing that copies other cultures. You cats need to start supporting dudes that are providing the balance within the music.
One thing I have to give the South and the West Coast to a degree is that they know how to get their money and alot of them have more creative control to release what they want. The reason being is alot of them learn the Independent game and start their own labels. They don’t wait until their discovered by a label. The days of begging a label to listen to their demo is over so they knew how to move with the times even if it’s using the internet to get their name out there.
Many East Coasts artists on the other hand are still stuck with the times and self relying on the labels to take care of them and do all the work for them like in the 80s or 90s while the end results is with them being treated like tax write-offs and pushed in the background.(DMX, Nas, Ghostface, Method Man).
Instead of looking down on the South and West, They need to learn and study the game so they don’t have to be begging JayZ, Diddy, 50, or Def Jam to put them on or crawl back under when their messed up in the game.
Check out E-40 on the Indepedent Hustle:
It’s independent’s day,” he says with an obvious smile. “It’s like, fuck double platinum. I’m tryna go double profit. It ain’t about first week sales or none of that. When I was independent if I had sold 12,000 the first week, I was happy. And we just kept milkin’ it until it became 100,000 and from a 100,000 to 150,000. That’s why I say, ‘the grit don’t quit.’”
In cutting out the middle man 40 is living carefree with the prospect of having no liaison to negotiate his contracts, or promotion, or marketing, or video shoots or interviews. He still owns the rights to Sickwidit Records and parlayed his own distribution deal with EMI. E1/ Koch, who’s known to favor the independent dollar, picked up the rights to his most recent album – Revenue Retrievin’: Night & Day Shift and he dipped his pen in the family ink, signing to Droop-E’s Heavy On The Grind Entertainment.