Despite the historical rivalry between Queens and the Bronx over the birthplace of rap being their respective boroughs, it cannot be argued against that New York City is where rap music was born and that rap is originally an American genre of music.
Yet like many traditional American spheres of dominance, there's been a shift in where the best rap music can be found. And it isn't America anymore. American rappers continue to dominate the commercial markets and for many, are still seen as vessels of 'real' hip hop. But when you critique and compare their product with that of other territories, it's increasingly substandard and seems to be heading further in that direction. Although for such a relatively young genre, why hasn't America been able to hold onto its status in producing the best rap music for longer?
Just as rap music spread beyond New York and throughout America, it subsequently became an American export. English speaking territories such as the UK initially adopted this with faux American accents and accompanying American vernacular. Naturally, their product was therefore always going to be inferior to the genuine article that was being produced stateside. Furthermore, in America, ever increasing budgets and accompanying glamour brought rap music further to a mainstream audience. However, that changed with artists like the London Posse who sought to bring a quintessential British sound to hip hop. Faux American accents and colloquialisms were ditched in exchange for that of the working class British. Consequently, the UK had a home-grown hip hop sound that it could be proud of. Alas, it was still playing second fiddle to the more polished and certainly more commercial American offerings.
In non-English speaking territories, home-grown rappers fared better. French rap especially thrived and the French brought their own sense of inner city swagger that couldn't be accused of imitating the Americans. Even in today's multicultural inner city Paris, the authenticity of Parisian swagger amongst the inner city youth is evident. French rap was also boosted by a French law that requires a minimum of 40% of all music played on the radio to be in French, an effective and patriotic approach to preserving the French language. As a result, their rap scene was able to grow as it wasn't stifled by an attempt to imitate the Americans. Groups like Fonky Family and Saian Supa Crew experienced critical and commercial acclaim in an era where despite their best efforts, no UK rapper was close to being a household name and virtually unknown outside the circles of hip hop aficionados. Even veteran DJ Tim Westwood marginalised UK rap on his former BBC Radio 1 Rap Show as it just wasn't deemed commercially viable.
Fast forward to the current musical landscape and a lot has changed for rap. New York is far from the bastion of rap and American rap arguably hasn't experienced a golden era since the mid-90s. Putting aside veterans like Nas, Common, Talib Kweli, Jay-Z and Busta Rhymes, who continue to be active, the biggest mainstream artists leave a lot to be desired as leading the world in the quality of their music. So who do America have to offer with their more current and mainstream artists? Lil' Wayne? That’s laughable. Nicki Minaj (who is actually a very competent rapper although you wouldn't think it with some of her commercial, dance-inspired offerings)? As far as mainstream artists go, there aren’t many that present America as a world-beater when it comes to rap. There are exceptions such as Kendrick Lamar and J Cole. But that's just it, they're exceptions. And if you're tempted to say Drake, don't forget he's Canadian, further supporting the notion that America is no longer producing the best rappers.
Conversely, within the UK I could easily name a host of rappers that would best their American counterparts with ease. Scorcher, Wretch 32, Kano and Stormzy might have originated from the grime scene but they're bona fide rappers and of a calibre that’s higher than most from America. Similarly, SAS, K Koke and Sway, artists that have been in the vanguard of the 'new school' UK rap sound, are of an equal status, especially in contrast to their American counterparts.
In France, artists like Booba and Kaaris have continued the legacy of French rap and the authenticity of their sound that even non-French listeners can appreciate. Could the same be said for much commercial American rap? I think not.
So what has caused America to lose its dominance of the genre it created? The primary cause has to be argued to be the commercialisation of American rap which has become a hugely profitable industry. Artists are therefore under more pressure to produce a pop hit rather than music that retains credibility and preserves hip hop culture. Hence the David Guetta-esque, Eurodance sound, that once would have been deemed the furthest thing from rap, permeating the genre's American output. This commercialisation has also had a knock-on effect on lyricism where mainstream American rappers seemingly have little of substance to say.
Where early rap gave a voice to American inner city youth, that voice is now largely used for trite and superficial content that is more likely to reflect banal fantasy. Of course, there are lyrical artists in America. Though with the proliferation of the commercial market, those acts are increasingly stifled from coming to the fore. In contrast, rap outside of America (albeit sometimes imitating the American output in crassness of content) is more commonly used to depict tales of inner city life and aspirations while using lyricism as a vehicle to do so.
Lyrically, many mainstream American rappers are bringing embarrassingly weak content to the table. No wonder the American battle rap scene is thriving as battle rappers, who possess the lyricism that was once a prerequisite for the artistry, turn their backs on the mainstream scene.
The hunger that was also once evident in rap, and reflecting the struggle so prevalent in the communities it grew within, also seems to be absent. As a genre, rap is adversarial and braggadocios in nature. Kendrick Lamar’s verse on Control caused so much excitement in rap circles because it brought the hunger, competitiveness and aggression that a generation of rap fans and indeed rappers haven’t experienced. Compare that to the clashing culture in UK rap, where even commercial artists can be heard to be ‘sending’ for each other, thus maintaining the hunger that’s seemingly diminishing in American rap.
As the mainstream American rap market sees the culture increasingly diluted, outside of America rappers have found their voice. Not to mention, it's one that resembles that of early American rap in its freshness, credibility, authenticity and social relevance. Indeed, in doing so, it's signalled a changing of the guard within rap and America arguably no longer has the dominance it once held.
Yet like many traditional American spheres of dominance, there's been a shift in where the best rap music can be found. And it isn't America anymore. American rappers continue to dominate the commercial markets and for many, are still seen as vessels of 'real' hip hop. But when you critique and compare their product with that of other territories, it's increasingly substandard and seems to be heading further in that direction. Although for such a relatively young genre, why hasn't America been able to hold onto its status in producing the best rap music for longer?
Just as rap music spread beyond New York and throughout America, it subsequently became an American export. English speaking territories such as the UK initially adopted this with faux American accents and accompanying American vernacular. Naturally, their product was therefore always going to be inferior to the genuine article that was being produced stateside. Furthermore, in America, ever increasing budgets and accompanying glamour brought rap music further to a mainstream audience. However, that changed with artists like the London Posse who sought to bring a quintessential British sound to hip hop. Faux American accents and colloquialisms were ditched in exchange for that of the working class British. Consequently, the UK had a home-grown hip hop sound that it could be proud of. Alas, it was still playing second fiddle to the more polished and certainly more commercial American offerings.
In non-English speaking territories, home-grown rappers fared better. French rap especially thrived and the French brought their own sense of inner city swagger that couldn't be accused of imitating the Americans. Even in today's multicultural inner city Paris, the authenticity of Parisian swagger amongst the inner city youth is evident. French rap was also boosted by a French law that requires a minimum of 40% of all music played on the radio to be in French, an effective and patriotic approach to preserving the French language. As a result, their rap scene was able to grow as it wasn't stifled by an attempt to imitate the Americans. Groups like Fonky Family and Saian Supa Crew experienced critical and commercial acclaim in an era where despite their best efforts, no UK rapper was close to being a household name and virtually unknown outside the circles of hip hop aficionados. Even veteran DJ Tim Westwood marginalised UK rap on his former BBC Radio 1 Rap Show as it just wasn't deemed commercially viable.
Fast forward to the current musical landscape and a lot has changed for rap. New York is far from the bastion of rap and American rap arguably hasn't experienced a golden era since the mid-90s. Putting aside veterans like Nas, Common, Talib Kweli, Jay-Z and Busta Rhymes, who continue to be active, the biggest mainstream artists leave a lot to be desired as leading the world in the quality of their music. So who do America have to offer with their more current and mainstream artists? Lil' Wayne? That’s laughable. Nicki Minaj (who is actually a very competent rapper although you wouldn't think it with some of her commercial, dance-inspired offerings)? As far as mainstream artists go, there aren’t many that present America as a world-beater when it comes to rap. There are exceptions such as Kendrick Lamar and J Cole. But that's just it, they're exceptions. And if you're tempted to say Drake, don't forget he's Canadian, further supporting the notion that America is no longer producing the best rappers.
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In France, artists like Booba and Kaaris have continued the legacy of French rap and the authenticity of their sound that even non-French listeners can appreciate. Could the same be said for much commercial American rap? I think not.
So what has caused America to lose its dominance of the genre it created? The primary cause has to be argued to be the commercialisation of American rap which has become a hugely profitable industry. Artists are therefore under more pressure to produce a pop hit rather than music that retains credibility and preserves hip hop culture. Hence the David Guetta-esque, Eurodance sound, that once would have been deemed the furthest thing from rap, permeating the genre's American output. This commercialisation has also had a knock-on effect on lyricism where mainstream American rappers seemingly have little of substance to say.
Where early rap gave a voice to American inner city youth, that voice is now largely used for trite and superficial content that is more likely to reflect banal fantasy. Of course, there are lyrical artists in America. Though with the proliferation of the commercial market, those acts are increasingly stifled from coming to the fore. In contrast, rap outside of America (albeit sometimes imitating the American output in crassness of content) is more commonly used to depict tales of inner city life and aspirations while using lyricism as a vehicle to do so.
Lyrically, many mainstream American rappers are bringing embarrassingly weak content to the table. No wonder the American battle rap scene is thriving as battle rappers, who possess the lyricism that was once a prerequisite for the artistry, turn their backs on the mainstream scene.
The hunger that was also once evident in rap, and reflecting the struggle so prevalent in the communities it grew within, also seems to be absent. As a genre, rap is adversarial and braggadocios in nature. Kendrick Lamar’s verse on Control caused so much excitement in rap circles because it brought the hunger, competitiveness and aggression that a generation of rap fans and indeed rappers haven’t experienced. Compare that to the clashing culture in UK rap, where even commercial artists can be heard to be ‘sending’ for each other, thus maintaining the hunger that’s seemingly diminishing in American rap.
As the mainstream American rap market sees the culture increasingly diluted, outside of America rappers have found their voice. Not to mention, it's one that resembles that of early American rap in its freshness, credibility, authenticity and social relevance. Indeed, in doing so, it's signalled a changing of the guard within rap and America arguably no longer has the dominance it once held.
