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Death of Hip-Hop: The Burial
Article by:
Mina Jasarevic
Yes, 2007 has witnessed a predictable decline in hip-hop’s album sales. And although sales themselves are down, the quality of music put out is expanding faster than the dough in a Pillsbury bake-off. 2008 is gleaming with a fresh light as hip-hop artists got a 2007 head-start in kicking ass and taking names. Like every other New Year, 2008 should begin with a focus to learn from the mistakes of the previous year while applying those lessons to successfully complete the year ahead. To get straight to the point, this is the time where we as a hip-hop collective need to ring in the New Year and bury the redundant, annoying and unimaginative catch-phrase of 2007 which deems the current state of hip-hop as “dead”.
Without a doubt, Nasir Jones is one of the most intelligent MCs in the game. With the exception of Oochie Wally (we will also bury the reference to this track), Nas generally writes and releases music with reason and purpose. He has giving us Illmatic which is generally considered the best hip-hop album, period. He has given us One Mic and he gave our kids “I Know I Can” as he continues to bless the airwaves with rhymes bursting with lyricism, passion and reflection of society. Declaring hip-hop to be dead, is probably yet another way in which Nas wanted to sway our attention to the genre of music which the mainstream appeal consists of, including ringtone rappers (Soulja boy off in this hoe!), rappers wearing bulletproof vests whose children can be found on stage also wearing bulletproof vests, and most important of all, tracks with the most annoying and repetitive beats that overshadow rappers with even more annoying and repetitive rhymes that generally revolve around “pu&&y, crack, wack, ass, hustla, gangsta - playa gimme that”.
Nas, we thank you. And here is where the controversy kicks in. As right as Nas is, he is also wrong. Granted, there are artists – and even geographical areas – that have introduced pure garbage to the game, trash which sells with the snap of a finger. But what Nas has failed to predict is that the 2007 would revive artistic credibility among hip-hop’s soldiers, and in this past year perhaps more than ever since the mid-90s, give the fans, the critics and the industry as well, a new hope, a bright idea, and something to smile about.
*Clears throat* Here we go: Talib Kweli – Eardrum. Kanye West – Graduation. Lupe Fiasco – The Cool. Naledge – Naledge is Power. Little Brother – The Getback. Common – Finding Forever. Jeru the Damaja – Still Rising. Royce Da 5’9 – The Bar Exam. C.L. Smooth – The Outsider. Black Milk - Popular Demand. SoulStice – Dead Letter Perfect. Ghostface – Big Doe Rehab. Smif N Wessun – The Album. Styles P – Super Gangster Extraordinary Gentleman.
Far from a complete list of the best that 2007 gave us, these are just some of the albums that stuck out to the mainstream hip-hop world on a general consensus. Loads of other quality records are due for release, laced with good old-fashioned lyricism, experimental modes of production, diversity in subject matter, and overall, just a better quality of music. On top of it all, the debates are once again marking their territory in hip-hop’s culture, emerging all the way from the underground circuit (think Rhymefest’s and Lupe’s discussion on political candidates) to mainstream matters (Kanye vs. 50). So please, let us ring in the New Year and put the falsified ‘Hip-hop is dead’ expression where it belongs – in the coffin. As the many glimpses of already-leaked tracks are showing, 2008 is destined for greatness. Let us not stagnate it with negativity, nostalgia and fear of the new.
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