From: www.newyorker.com
Freddie Gibbs rhymes the way he talks: quickly and cleanly, with little sentimentality or exaggeration. Photograph by Evan Hurd.
Weighing in early on what academics call “periodization” is a dicey proposition. If you try to locate the moment of a major paradigm shift, in the moment, perhaps by calling your album “Hip Hop Is Dead,” as Nas did in 2006, you’re slipping into weatherman territory. Will it rain tomorrow? Will another great rap album pop up? The life spans of genres and art forms are best perceived from the distance of ten or twenty years, if not more. With that in mind, I still suspect that Nas—along with a thousand bloggers—was not fretting needlessly.
If I had to pick a year for hip-hop’s demise, though, I would choose 2009, not 2006. Jay-Z’s new album, “The Blueprint 3,” and some self-released mixtapes by Freddie Gibbs are demonstrating, in almost opposite ways, that hip-hop is no longer the avant-garde, or even the timekeeper, for pop music. Hip-hop has relinquished the controls and splintered into a variety of forms. The top spot is not a particularly safe perch, and every vital genre eventually finds shelter lower down, with an organic audience, or moves horizontally into combination with other, sturdier forms. Disco, it turns out, is always a good default move.
Hip-hop, a spinoff from New York City’s early disco culture, has been a commercial proposition since the release of “Rapper’s Delight,” in 1979. That’s thirty years, a long time for any genre. If you want to be conservative and decide that mainstream cultural relevance kicked in toward the end of the eighties, with New York’s golden age and the quick follow-up of gangsta rap, the wildly popular genre from Los Angeles, that still leaves twenty years of cultural impact. This may be a fine time for hip-hop to atomize. The original form has done an awful lot of work.
“The Blueprint 3” falls in line with other recent mass-market successes in hip-hop. Compare it to Kanye West’s “Glow in the Dark” tour, or Kid Cudi’s breakout hit “Day ’n’ Nite,” and you will notice that this is hip-hop by virtue of rapping more than sound. The tempos and sonics of disco’s various children—techno, rave, whatever your particular neighborhood made of a four-on-the-floor thump—are slowly replacing hip-hop’s blues-based swing. It doesn’t matter if you’re talking about the rudimentary digital sound of New Orleans bounce or the crusty samples of New York hip-hop: this music wants to swing and syncopate. On major commercial releases, this impulse is giving way to a European pulse, simpler and faster and more explicitly designed for clubs.