Article by Michael Partis

“It’s like New York’s been soft ever since Snoop came thru and crushed the buildings.”

Hov-”Money, Cash, Hoes” 1997 …and we still haven’t recovered If you are a true New York head, this is the conversation you feel like you always have but it seems like you don’t really have.  Or more like something you always talk about, but you don’t really wanna talk about.

Back in July Fabolous was on Hot 97 wit Angie Martinez and DJ Enuff talking about how New York Hip-Hop done fell off.  He cited how the lack of an New York presence at the 2008 BET Awards made him think about where the city is at in the game; and that New York rappers need to focus more on making music and less on beefing.

“The only thing I really be hearing from New York artist is beefing between each other,” said Fab.  “And I mean that’s cool for the sport, and people always gonna say that’s good entertainment but I don’t really be hearing no music…”  (Listen to the whole interview HERE)

A few weeks ago Maino did an interview addressing similar concerns about the state of New York rap.  “When you think about New York…when somebody in fucking Albuquerque thinks about New York rappers, who they think about…Jay-Z, Nas, Busta…people who been around ten, fifteen years.  So this is ten, fifteen years and you gonna tell me we don’t have nothing else?”

The question isn’t about what’s going on anywhere else, but about what’s going on in New York.  This is about what New York is doing.  Not ATL, or Florida, or the Chi, or Cali or anywhere else.  Where’s New York at now in the game? Who “Put On” for the city?

We can start with the established, the Jay-Z’s, Nas’, etc.  They are the icons, the legends.  There has always been the criticism that they failed to really put anybody else on.  The Memphis Bleek, Nature, Cormega-types who had the major backing, but for some reason or other never really came through.  Or the fact that at some point, they have completely stopped trying to put anybody else on.  We’re not talking about guest appearances or features on a track, were talking about mentor-ship, artist development, and the sort.  Granted, in some way you can say Jay has done that through his time with Rocafella (Beans, etc), his executive work (under the radar goes the fact that he co-executive produced Lupe’s debut Food and Liquor), and his presidency at Def Jam (cite Kanye, but insert a big maybe here; First, Jay’s legacy at the head is definitely debatable because of major successes–see Ne-Yo, Rihanna–and major flops—see poor album sales for too many artist to name.  Second, he tried to put on Tru Life…but that was a miss; and third, in many ways Kanye established himself, but since he did pay somewhat of an ode to him in “Big Brother” we’ll give Hov some burn on cred).  But even within that the New York connection is missing. The question is: is it really their job to put somebody on?

I know we like to be all communal and sharing and helping out the next man and all that;  I know Hip-Hop (and this is especially true for New York) thrived off the “posse cut.”  Joints like the “Flava in Ya” remix, “Banned from T.V.”, “Fantastic Four” (Part I and Part II), “Blackout”, and “John Blaze”, provided dope tracks and gave everybody a chance to shine.  And still to this day, Rap is filled with talk about your “crew,” “squad” (R.I.P. Stack Bundles), “team;” or the ever popular, too often invoked, “movement.” But Hip-Hop has also always been about going for yours, doin me, on my grind, and building my own movement.

Ever since Hip-Hop became mainstream, marketable, and corporately profitable, this has been the case. Two New York teams are indicative of this: Cam, Jim, Juez and Dipset; 50, Banks, Yayo, and G-Unit.

Take the Dipset case for example.  Cam translated his relationship with Mase into a position to show his skills and get a deal (in case ya’ll forgot go listen again to tracks like “357″ to remember young, hungry Cam).  But he used the deal to put together a marketing plan for himself, and his people.  They built a sound, a following, a “movement”, and most importantly, a brand. When you heard “Dipset” it was no question who you were talking about or where they was from.   The movement turned into several records deals, tons of name recognition, and marketing opportunities.  Jim Jones and Juelz are where they’re at now because of it.  And comparatively the story plays out the same way for G-Unit as well, perhaps even more successfully. These dudes took it and ran with it.

But they couldn’t go anywhere unless they got signed.  Now though, are New York rappers even getting the chance to shine?  Are labels checking for them?

Maino spoke on the industry, saying, “First and foremost record companies over here aint even signing New York niggas. [Referencing rappers like Papoose and Uncle Murda who recently left/got dropped from deals]…I think them niggas can come with it, if we given the opportunity.” So is the problem that the industry isn’t backing New York rappers?

First I’m sure no other region would be crying or feeling bad for New York if it was true.  For as long as it took (and in some cases is still taking) other regions, like the South, Midwest, West Coast, or places (think about how many cites, or how many states have never produced a commercially relevant rappers—you don’t think they have rappers in Kansas, or in Delaware?), a short NY drought could never compare.

Second, the music landscape has changed.  Most Hip-Hop albums don’t sell big numbers, radio spins isn’t as important.  A dvd segment, a MySpace page, some Internet buzz, and some iPod plays can spread your music, make your fan base, and bring you to the Hip-Hop audience.  In many ways, it’s bigger than a label now.

So how does New York make it back?  And who will bring it back?

Maino seems posed to make a major move.  Charles Hamilton is getting buzz right now.  Both have the major label push (Atlantic and Interscope) and talent to make a serious impact.

There are people like Corey Gunz who are putting themselves together to blend the rhymes and marketing sensibility needed to come through onto the main stage.

Then we have the case of the super-talented MC trying to make it mainstream: Joell Ortiz, Donny Goines, Skyzoo, Sha Stimuli, and countless others.  Will they make it to the other side?

Will they blow up? Now, moving past the Dipset banner, can Jim Jones take all the things that got him to this point and obtain major label success?

Can somebody like Jae Millz re-group with a new label (Young Money Records) and behind Rap’s biggest new star (Lil Wayne)?

Will a female MC with star backing like Nicki Minaj, or a underground spitter like Amanda Diva give the game a much needed female presence (on the music side, not the vixen side) and rep the NY correct?

Will the mainstream ever get to appreciate the lyrical, narrative ability of Saigon?

What happened to Tru Life, and the “New New York?” Will all those S.M.A.C.K. DVD type rappers we saw ever amount to anything?

Will playing a legend in a film bring Gravy the clout to make it mainstream? Is the problem that him, like everybody who reps NY, lives in the shadow of Rap’s greatest (dead and alive)—and breaking those comparisons and expectations in today’s time is perhaps the most difficult burden?

Or, is it that New York just need to get they swag back.

Maino gave a strong words of advice that should ring out to all five boroughs.  “I go other places everybody happy to be where they from, I come out here and its like we not really that happy to be from New York…New York as a whole…need to get our pride back and stop following so much.”

New York needs to get organized, and get focused.  Because Hip-Hop’s moving forward, and leaving it behind.  But not forgotten.

Michael Partis

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Tags: 50 Cent, Fabolous, Jay-Z, Maino

This entry was posted on Friday, December 19th, 2008 at 2:30 pm and is filed under 50 Cent, Editorial, Fabolous, Jay-Z. You can skip to the end and leave a response.