Recently, I have rediscovered my appreciation for hip-hop journalism. As someone who has been working as a journalist in hip-hop for over 10 years, I realized that, while some of us have been able to survive the slow death of publications and make our transition to the web, the art form of hip-hop journalism has somehow lost its sense of direction. But in studying the internet over the last couple of years, I have been able to distinguish good ole’ hip-hop coverage from the overdose of “content” out there.

This is not to say that I’m not a junkie who has become addicted to scouring the internet for more and more “content,” some of which is just plain ole’ bad for ya. I’ll be the first to admit that I am a part of a culture that makes sites like worldstarhiphop.com (which dubs itself the “CNN of Urban Media”) such a success. I check it almost daily for their aggregation of hip-hop related videos–be they great interviews or ignorant sometimes misogynistic video clips. Still, there are those of who seem to have forgot that there is a responsibility that comes along with the publishing of material that is created within hip-hop. As a result, hip-hop journalism seems to be dying a slow death.

I am convinced that the reason this content aggregation as it pertains to hip-hop has spun out of control is that the powers that be have no formal journalism training or no regard for it, for that matter. Therefore, traditional hip-hop journalists are either affiliated with sites that publish a wide variety of different content, or have bit the dust because they could not figure out how to compete within the sphere of the world wide web. Reputable journalists are being replaced by “content” owners and/or bloggers–talented in their own right. These individuals are beasts when it comes to web publishing, video editing, internet search and social networking, but they should not be confused with being journalists (as many have proclaimed). To their credit, however, they have been able to win because they are quick in accumulating the news and even faster in publishing it on their own blog or website. They’ve been able to corner the market online (at a much lower rate, mind you).

Still, that isn’t to say that real hip-hop journalism doesn’t exist. It just lives in a very underground area (much like hip-hop did in its infancy). And I also don’t mean to downplay the journalistic skills of some (a very few) of the bloggers and content owners that actually research and fact-check their work, come up with their own spin on a story, and do their own original reporting. It’s just my observation, but much of the “content” out there is unedited, malicious and a regurgitated form of someone else’s originality. And another thing, I’m sorry, but hiding behind the “freedom of speech” and “anti-censorship” theory is no excuse for not moderating comments on a site that bears your name or likeness or the name of a highly-respected website, especially when those comments are untrue, vulgar, and malicious. (NOTE TO BLOGGERS: when your online community is using your site to anonymously defame people and publish random banter, you should feel compelled to moderate or edit, unless you actually like spreading rumors). I tell ya, these days, hip-hop on the internet has become one big tabloid, of the worst kind.

Allow me to continue to vent. But what ever happened to original reporting? Is it all about covering the same story nowadays?Everywhere I click, I’m noticing that the same three stories are being covered on a majority of hip-hop websites every day. And the thirst to compete has made people so succeptible to any phone call from a D-list celebrity that wants to “get their side of the story out.” 

So while it’s customary for content aggregating sites to just re-publish someone else’s interview, it’s also become the norm for people on the web to borrow someone else’s content for their own benefit. Now, here’s the funny thing about that…it’s okay to do so if the bloggers or content owners are in the same network (on someone’s blogroll), but if you use someone else’s interview and you’re not “in” with them, then blogger no likey. Meanwhile, they try to call everyone else out on their “conflict of interest.”

All of this is to say that while I have enjoyed the abundance of content on the web and been able to get the news faster, the fact that I’m trained in filtering the information to get to the real story makes me wonder if the audience is doing the same. Or has the disguise of journalism as “content” just made the true art form a thing of the past? Your thoughts, please…

–KIM OSORIO

When Nas made the lyrical suggestion that hip-hop was dead a few years back, he pissed off more than a few heads. But, having written a book called The Death of Rhythm & Blues back in ‘88, I know pronouncing the death of any cultural movement, is usually intended more as a wake up call than a eulogy. Near the end of the first decade of the 21st century I don’t think hip-hop is dead, but that the definition is used so loosely now that it may have lost its meaning.

I remember a time before hip-hop, when Technic turntables were used one at a time, when rappin’ was what cool radio jocks and Isaac Hayes did, and baseball caps were for outfielders not gangstas. So I have a little perspective on this game. I remember how “fresh” (in every sense of the word) hip-hop culture felt in its ’80s incarnation, bringing essential rawness, grit and even soul back to a black popular culture that had gotten too slick, too corporate and too self-consciously commercial. And, truth is, you could make that same criticism today about much of what passes for commercial hip-hop.

Hip-hop, as I understood it, was rebel music, representing a outsider culture. It was music that spoke for people on the margins of society, people voice less in America who demanded to be listened to. It was about “making it” of course, but also it had a very underdog quality. Very “them” against “us” which gave it a lot of its passion.

So now the game is dominated by brand name icons, CEO’s of success (and excess) who speak the audience very top down, who are selling products which enrich their pockets but only have a fleeting relationship to enriching the lives of their customers. I’m not trying to romanticize the past, but to say that the perspective of hip-hop has changed so completely that it might not be the same thing it was.

I respect both Lil’ Wayne and Kanye West immensely, but most of what I hear on New York Hot 97 is really dance music. Great tracks and stick in your mind hooks abound, but both lyrically and flow-wise what I’m hearing isn’t up to the standards of ‘87 or ‘92 or ‘97. I’m not saying people aren’t making hits or that stuff isn’t sounding good in a club. I’m just not sure it’s hip-hop musically, culturally or lyrically.

So for me hip-hop isn’t dead. It’s just that every damn thing that people wanna call hip-hop isn’t and hasn’t been for quite some time. Hip-hop is a label that people stick on products — music, video games, vodka, perfume — to sell to people. But I don’t think there’s a rebellious way to smell good or wear a suit. I think we are actually in a post-hip-hop period–and that’s fine with me. History moves on and cultures evolve. But perhaps we should all be looking at every product comes our way and asking a few very simple questions: Is this hip-hop? Why and how is it hip-hop? And does it being hip-hop actually even matter?

catch ya down the road

NELSON GEORGE is the executive producer of BET’s American Gangster, and has just published City Kid: A Writer’s Memoir of Ghetto Life and Post-Soul Success” (Viking). The book will be in stores April 2.

Be sure to check out Nelson George’s, A Survivor’s Tale, featuring BET News’ Samson Styles. It is the second in a series of fictionale tales based on true events that George is producing and directing.

But these days, the girlfriends of rap artists are getting media attention for being just that—girlfriends. No rapping, no singing, no nothing; just the high honor of being the chosen one in the sea of women in which artists dive. So the question becomes, can being someone’s girlfriend transcend you into stardom or will these girls get the short end of the stick when, and if, the relationship fizzles out?

Kanye West is one celebrity whose girlfriends always seem to get their 5 minutes of fame. His latest, Amber Rose, a shaved-head, light-skinned aspiring model with a fierce body and a permanent cigarette attached to her fingers, seems to be the most intriguing of all, especially as the lesbian rumors continue to pour in. Blogs also say that Amber is a former stripper, and if pictures soon surface, I predict her star will rise even more so. But it still remains to be seen whether Amber’s appeal transcends being Kanye’s girl. In the past, former Kanye girls have become partially successful—depending on how you look at it. Alexis Phifer, the most recent ex, is an aspiring clothing designer, and Brooke Crittendon is a current cast member of the BET reality series, Harlem Heights.

In the case of Joe Budden and his girl Tahiry, who was just recently photographed for the cover of King magazine, the scales seem to be tipping in her direction. Unbeknownst to Tahiry, she became the star of Joe Budden’s video blogs–the reality tv-type material that became popular on his Youtube channel. Since the couple started broadcasting their private lives on the internet, Tahiry has become the latest hip-hop darling. But while a possible reality TV and modeling career could be awaiting her, will she ever grow outside of the Joe Budden girl role?

In an era where the role of women in hip hop has been reduced significantly, it remains to be seen whether dating a rapper (yeah, I said it) is the fastest way to come up. Please, let the comments begin…because I smell a part 2 coming.

–KIM OSORIO

 

 I remember when I was at Uptown records, I was a Senior VP at Universal. I had great success. I had Monifa, Soul For Real, I had me. I had great success there. But there is nothing artistic about running a label. It made me realize how much of an artist I am. I remember going to Doug Morris who is one of my favorite people on the planet, there was a buyout that went on for 12 billion, and I remember saying you gotta make this back fast. I knew it was going to turn into a machine, and it was going to turn into a machine where the creativity and artist development started going out the window. We just had to make money. I couldn’t turn into that guy so I went to Doug and I was like I love you but I’m not going to be the guy to do this. It takes two or three years to break an artist. I’m not built for that, and I couldn’t take it anymore. I’m not a business man that way. I love finding the artist, cultivating the talent, producing the records and letting the management and the system take it from there.

At the same time, I was focused on my acting and I fell in love with doing theater and acting, and you could do it ‘til you take your last breath. It changed my life little by little. And it put me in a great place and it made me realize a lot of different things.  There will always ALWAYS be the struggle between commerce and art. It’s the natural progression. But because of money and the power of it, commerce will always win. You take a Talib Kweli who is brilliant; he will never sell as many records. It probably has less to do with people not wanting to hear it, I’m sure there’s an equivalent amount of people who want to hear it, but it’s there. You have somebody like Mos Def, who says, I’m not making another record, until you guys promote it right. I’m gonna go do whatever I do. Or he might just be crazy to begin with who knows.  You can’t tell somebody to walk away from a million dollars. I wouldn’t, especially when it’s legal, and you aren’t killing anybody and most of these cats’ upstart labels started with drug money and they had a chance to clean themselves up. It’s a big deal.

Kanye is the person I respect the most right now, because he pushes the bar. He’s the dude. I love the bravery, you put yourself out there, go be an artist.

–HEAVY D. Heavy D.’s Vibes CD will be available in stores on Dec. 16