No One Is ‘Bringing Back’ New York Hip-Hop

By
Manny Faces
-
New York Hip Hop

In the grand scheme of things, there are certainly more important topics to speak on, or be worried about these days, but this needs to be said. So let me repeat it.

No one is bringing back New York hip-hop.

The reason is simple. New York hip-hop never left.

The state of New York hip-hop is a topic that often crops up among the hip-hop community at large, though few are ever really knowledgeable to offer more than cursory-level analysis.

Of course, the most recent reason(s) for the slight uptick of the phrase “…bringing New York hip-hop back” — or it’s many variations (“New York hip-hop is back,” “NY rap is in a good place again,” etc.) — is largely based on the relative success (or, at least, visibility) of a couple of artists like Dave East and, in particular, Young M.A.

The former has been slowly grinding and steadily building a fanbase within the New York area for years, and, with the help of a Nas co-sign and mass appeal signing, has turned that into moderate national attention. The 2016 release of his full-length debut, Kairi Chanel, further solidifies the Harlem representative as a solid artist, deserving of the attention.

The rise of Young M.A. has been a bit more meteoric. Though not an overnight success either, her infectious “OOOUUU” quickly became a street and internet hit, long before radio reluctantly started showing it some love (I say “reluctantly” because radio seldom programs a song that hasn’t been agreed upon to be released through official protocol: researched, tested, planted at particular times, forced upon an audience repeatedly until it reaches the proper level of “earworm,” all while pretending the process is organic and that they are still making moves #fortheculture.)

In fact, DJ Enuff of New York’s once-relevant Hot 97 practically admitted as such, telling Billboard:

“…we had no research, no analytics, nothing. People got up and ran with it.”

Indeed, what pushed “OOOUUU” to new heights was not radio DJs, rather, timely social media bigups from Beyonce and 50 Cent. Without that, even New York hip-hop radio probably would have missed it — they rarely have their ears close enough the the street (or the financial incentive) to truly ‘discover’ anything anymore — and even if they did, they no longer have the capability to catapult a single to ubiquity with the same effectiveness as if it goes viral by other means.

Regardless how they got here, now that a couple of artists from the boroughs are making some national noise, there is no denying that an onslaught of “New York back!”-related comments are again part of the hip-hop conversation.

Just stop it.

The only thing coming back to New York hip-hop, is your attention.

Perhaps people simply have never taken any real time to stroll through the infinitely varied and highly progressive New York hip-hop landscape, choosing instead to rely on, and echo, lackadaisical, uninspiring hip-hop media that has, for years, erroneously regurgitated the same tired and asinine analysis that NYC’s rap scene is “dead.”

So when a couple of artists make some noise, maybe even get one song on the radio, they get excited! And they say things like

Cas, that’s just silly.

After all, how can New York hip-hop be ‘back’ when every year we hear people declaring that New York hip-hop is “BACK!”

True, this was the reaction folks had when Bobby Shmurda blew up.

But also with A$AP Rocky.

And Troy Ave.

And Action Bronson.

And French Montana.

All of these semi-successful artists, who managed to reach some level of mainstream notoriety, had people clamoring about the “resurgence” of New York rap. But even then the consensus was misguided, because these artists all represented merely a small portion of New York’s larger hip-hop world, and was pretty subjective.

Face it. If you didn’t like [insert momentary noisemaking New York rapper here], you weren’t ready to give the crown back to the city.

Personal taste aside though, the overall problem is that for many, New York’s relevance to rap has been largely based on whether or not artists from the area get some kind of mainstream love, particularly, mainstream radio play, but this is simply no longer the gauge by which anyone can or should rate New York’s rap relevance.

Doing so is as outdated as the industry itself, and completely dismisses how incredibly progressive the New York rap universe has continued to be, DESPITE a music business that clearly caters to more simplistic, formulaic and easier-to-capitalize-on aspects of the genre.

These few artists who break through — and many of them we love — still only represent a tiny fraction of what “New York hip-hop” actually means, or all that it has to offer. The very fact that Dave East and Young M.A. have been on the scene for years before gaining real recognition, demonstrates that the problem isn’t New York’s lack of talent, rather, the lack of attention people pay until these artists somehow reach some sort of tipping point of visibility.

That’s fine. I certainly don’t expect people to be as glued to the independent and underground New York hip-hop scene as those who are taking the time to read this long ass diatribe tend to be.

But saying New York hip-hop is “back” when you haven’t really been paying attention is like suddenly realizing today that Donald Trump becoming president is a terribly scary thought.

Like… Where have you been?

Look, I get it. New York rap is getting a little more love out in the world. That’s always great. The problem is that blurting out publicly that New York hip-hop is “back” only serves to re-emphasize the falsehood that New York hasn’t been making notable contributions to today’s hip-hop music landscape all along.

To think that because Young M.A. gets (deserved) attention for one particular song, that she — or any one artist with any degree of success — dictates New York’s current hip-hop quotient, is absurd.

The fact is, New York never actually lost it’s hip-hop sound or soul. Contrary to another outlandish perception, artists from the region still sound very much like New York artists.

Deadass, B.

OK. Yes. There have been a slew of up and coming wannabes who cater their sounds, styles and diction to that of other regions of the country in an understandable but often disappointingly ineffective attempt to get in where they think they can fit in, but aside from A$AP Rocky and Desiigner, few New Yorkers who make any significant noise — aboveground, underground or middleground — are doing so by mimicking the styles of trap-influenced radio rap.

That being said, the fact that you can even find this kind of style in the Big Apple coexisting among artists who still ooze the city’s boom-bap-influenced DNA, or among groundbreaking new genre-bending musicians, or MCs rocking along with live bands, or some of the most talented freestylers alive, all while old school veterans, legends and pioneers are still performing and releasing new music, further proves the point.

There is no place more alive with hip-hop than New York.

Period.

This is even further exemplified by the vast amount of quality rap music that has been released by New York artists, for years, consistently, covering every facet and sub-genre that has ever been thought of.

If you like the gritty, clever, street-oriented wordplay of Dave East, and think he is bringing something totally new to the New York hip-hop table, the catalogs of Roc Marciano, Ka and the late Sean Price would like to have a word with you.

If you think Young M.A. is finally representing for women in hip-hop, perhaps you missed Nitty Scott, OSHUN, the return of Remy Ma, Genesis Be, Tish Hyman, Sammus (upstate, but still), the eternally fresh Jean Grae, or the countless women in the NY area who put on for the music, the culture and the city.

Plus there was… Oh man, what’s her name…  Nickle… Nicki… Nicki something…

Remember, Young M.A. has been around, but wasn’t getting industry love either. She had a song go viral and it changed the game. But if you think she’s the only woman MC in NYC who is one song away from the spotlight, you are sadly mistaken. The issue is much more a lack of industry support for women than it is there not being enough of them.

So — and this is important — this is not to take anything away from the quality and success of these two artists. They are certainly worthy of the attention. But by no means have they emerged from some otherworldly UFO, or been created in some secret mad rap scientist’s laboratory. They are part of an incredibly thriving, complex and diverse New York hip-hop ecosystem that has never stopped producing quality music, culture, artists and community.

Once can point to the plethora of “new age” rap — for lack of a better term — that has emerged from the area that also doesn’t conform to the outdated, imperialist standards that culture-robbing hip-hop radio has been forcing down our throats for years. Artists like Joey Badass and Pro Era who have taken old school sensibilities and updated with new school flair or the spacey, smokey, laid-back one minute, explosive-energy the next, hybrid sub-genre that the Flatbush Zombies and the Underachievers have tapped into.

Those with a preference for modern vibes can always check for Fetty Wap and Desiigner, and if you don’t want to wait until aging gatekeeper DJs or executives in places like Indiana figure out who you might like, it’s ok, because you’re already checking A Boogie Wit Da Hoodie, or Westside Gunn and Conway (also upstate, but still…).

As far as the nostalgic set is concerned, recent releases by veterans like De La Soul and A Tribe Called Quest have also contributed to the idea that New York hip-hop is enjoying a reincarnation. It’s important to understand, however, that new releases by veteran artists is nothing new, though most don’t reach the level of visibility these projects received.

Proof? Comments like

Well Auri, it just so happens that “old” New York hip-hop rappers like Steele from Smif-N-Wessun, Sadat X, Redman, Talib Kweli, Masta Ace, MC Lyte, Camp Lo, Kool Keith, Joe Budden, D.I.T.C., Craig G, The Outlawz, Consequence, N.O.R.E., Grand Puba, M1 (dead prez), Havoc (Mobb Deep) and Chuck D (as part of Prophets of Rage), all released projects in 2016.

Didja buy any?

So again, while new releases from all-time greats like De La and Tribe are welcomed and refreshing, they aren’t the only ones.

It is this knowledge that makes it hard to understand those who lament the loss of the kind of hip-hop they remember, and often speak on the need for “bringing back” something lost. A complaint heard just as often is the need for “real lyrics” in the game. In this area, many seem to view New York hip-hop as a shadow of its former self.

Of course, fans of linguistic powerhouses like Homeboy Sandman, Oddisee, Skyzoo, Pharoahe Monch or Joell Ortiz to name only a few — artists who, I might add, tour the world in support of their projects, making an independent living without having to play mainstream reindeer games — would laugh off those who think lyricism in hip-hop is extinct. These hometown hip-hop heroes, they would argue, constantly prove that lyricism in hip-hop has reached unparalleled heights.

Of course, there are the hundreds — thousands even — of regularly performing artists, DJs, producers, graffiti artists, B-Boys and B-Girls who live, breathe and live hip-hop at venues throughout the region on any given day of the week. They may not be known on a grand scale, but some of them will give you a performance that would rival any you’ve seen, while being totally approachable, humble and worthy of your support, both financially and through word-of-mouth.

Trust me. I curate an incredible NY-area hip-hop calendar. From concerts to indie shows to hip-hop trivia to rap karaoke to jam sessions to hip-hop theater, there is something new and exciting in New York hip-hop happening every day.

The Legendary Cyphers crew, freestyling for hundreds outside at Union Square Park every Friday night from May to November.

The decades-long Rocky Presents open mics and featured artist events at the Nuyorican Poets Cafe.

End of the Weak, a 15+ year long weekly hip-hop showcase and open mic

Freestyle Mondays — which has also been around just as long — a monthly, freestyle “gameshow battle” and live band open mic jam session.

The Line Up, for more than six years providing a welcoming, multi-genre artist showcase with live band open mic ciphers.

Mobile Mondays!, a weekly gathering of DJs spinning primarily 7” “45s,” that regularly welcomes superstar guest DJs, hip-hop icons, industry insiders and music lovers from all walks of life.

NYC’s SummerStage events, which host huge events at Central Park, including paying homage to hip-hop legends like Kool Herc, Rakim and the Rock Steady Crew.

Ongoing series like The VS., Toca Tuesdays, The iNCrowd, Soul in the Horn and many more which weave often star-studded hip-hop into every party.

Courses being taught at colleges, universities and schools of all levels which incorporate hip-hop music and culture into education.

Artist-activists working with organizations like CopWatch, Justice League NYC and the NYCLU.

Youth-oriented organizations like Urban Art Beat, Momma’s Hip-Hop Kitchen, Art Start, Hi-ARTS, Hip Hop Hacks, BEAT Global and many more, making sure the true school elements of hip-hop community, culture and education are passed along to the young.

And of course, the major concert events at large-scale venues constantly occurring throughout the city, representing every aspect of hip-hop’s current mainstream landscape, in a way only New York City can.

It is fair to say you can only find this deep a cauldron of bubbling hip-hop music and culture within the borders of the birthplace of hip-hop.

So yes, we’re thrilled everyone is paying attention to New York rap once again, however, I urge everyone who has an opinion about the state of New York hip-hop:

Don’t be fooled into thinking that any particular artist, or any amount of radio spins, or blog articles or YouTube views or social media comments, could ever possibly dictate the degree to which New York hip-hop is popping.

We’re always popping. We’ve always been popping.

It doesn’t matter what flavor, style, era, discipline or state of mind you might be in, or looking for.

It doesn’t matter what any blogger, any podcaster, any anti-establishment young person, any close-minded traditionalist, any jaded one-time star or any aging, irrelevant, former tastemaking radio DJ might tell you.

Don’t call it a comeback. We’ve been here for years.