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.

TAGS: City Kid, hip hop, Nelson George

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