This is an analysis of the Crescent City rap/hip-hop scene. As a native, I can give you some insight you won't find in national publications, or other southern web sites. The following is subjective, however. I don't proclaim this writing to be objective, or gathered from extensive research, only my personal experience. It's not my intent to persuade anyone from listening to music they enjoy; I'm just speaking my mind. Though I often get labeled a hater for it, that's never stopped me before and won't now. If you have a different perspective on this subject, e-mail me or bring it to the forum.
Local Rap
I'm sure a good percent of people that come to this site are in-love with New Orleans hip-hop. Many of you fiend for it because its something different than what you've been exposed to. Many of you are on the bandwagon, which isn't necessarily a bad thing (we all have to get into things at some point). And some of you are suburban, no-life, wannabe down south hustlers with no culture, so you feel a need to grab onto some fad. In any event, New Orleans music has become popular on a global scale, and the seemingly quick rise of this phenomenon have left many wondering what's behind it all.
Although I represent New Orleans, it's rare you see me discuss local rappers on the same level as others. Is this because little material is coming from Crescent City? Certainly not. There are close to a hundred independent record labels in New Orleans, and new releases almost every week. The problem is that very few artists in New Orleans make quality hip-hop. The emphasis is put on using a new slang (usually the last phrase that appeared on a Cash Money album), and making a catchy record surrounding it. Almost every rapper here is on some killer, hustler, or baller vibe (usually a combination of the three). While often entertaining to listen to, it is easily played out. When every rapper is trying to kill more blacks than the last, and every rapper is selling more drugs, and every rapper is playing more broads, it begins to sound the same. It's even gotten to the point where the song titles are identical. I'd be a hypocrite if I were to say all of it is weak, because I do bump a lot of Cash Money, some No Limit, and various other locals. But once you own one album, you've heard most of the rest of them. I wish local emcees would try harder to sound original. 2Pac is dead. The man made great music, and will always be with us, but it's time to find styles of our own, gentlemen.
Bounce Music
There is also a homegrown mutation of hip-hop called bounce. This is, in essence, the ultimate dance music. While there is little to no artistic value, it's not without its charm. DJs can throw on a bounce record and get an instant crowd reaction. Girls get to shaking, and once that starts, the fellas usually follow to the dance floor (the formula to getting a party started).
What exactly is bounce music? Many outsider/national publications have incorrectly labeled No Limit and Cash Money as bounce rap labels. While both have made bounce songs, their primary style of gangsta rap is nothing like bounce. Singles such as "Make Em Say Ugh" and "Ha" are high in tempo, but should not be confused with true bounce records. In actuality, bounce is the most basic form of urban music. In most cases, an old school beat break loop is used, and a popular sample is thrown over the cut. On occasion, the producers will create the percussion themselves, but usually "Trigger Man" is used. While samples may be familiar to some, the percussion outshines all musical aspects of a bounce song. The "woof" noise from the "Trigger Man" sample is the corner stone of the bounce genre. The final element of a bounce record is the vocals. The "artist" (for a lack of a better word...maybe "performer" would be more appropriate) shouts out different dances in repetition. It serves its purpose at parties and clubs. But because of the extensive repetition, each time those songs are played on the radio, it sounds like the same song has just been played eight times. It doesn't help that the radio keeps these songs in twice-an-hour rotation.
After enough people began voicing negative views of bounce, from a hip-hop standpoint, bounce advocators responded. Many argue that bounce is the "essence or hip-hop," or "hip-hop in its truest form." It seems bizarre that the average bounce fan could consider himself in a position to speak on the essence of hip-hop, but we should examine their argument nonetheless. These people insist that since bounce is danceable and uses raw hip-hop loops, it's at the heart of hip-hop. This argument is flawed for two reasons.
First, hip-hop is not simply a music genre. It is primarily a subculture and art form. Art requires skill, talent, innovation, creativity, etc. I am not one to pass judgement on an artist hastily, but after close to a decade of hearing the same formula, with absolutely no progress or artistic expression, I cannot consider bounce performers as "artists." Since no originality is present, the performers are not even individuals. How can these people be representing a culture, when they aren't even representing themselves? Shouting "shake this" and "do that" is hardly a skill or talent, either. It's no more hip-hop than square dancing.
Secondly, the "dance" argument is played. A lot of music is danceable, and a lot of genres have percussion similar to hip-hop. That reason alone does not validate it as hip-hop, much less the "essence" of the culture. Would these same bounce advocators insist that Backstreet Boys and Brittany Spears represent hip-hop's roots?
Instead, I see bounce as a New Orleans, soulless version of reggae. It definitely has its time and place, but it cannot demand respect on any level other than the "dance music" it is. If you love bounce, then good for you. If you think it's a viable art form that requires skill and talent to produce, you're sadly mistaken.
New Orleans Radio
In my opinion, the local radio stations are one of the reasons New Orleans' hip-hop has become uninventive and trend-following. Executives such as Master P have come to realize that there is little artistic standard, and flood the airwaves with their own music. Coincidentally, many radio programs here are sponsored by No Limit, and on-air personalities have been seen wearing No Limit chains. Usually, some of the more talented artists don't get air time, and it creates an uneven display of expression. The result: a city of people that would rather request songs they already own than hear something new.
When this writing originally debuted on the site, I went on for paragraphs about the conduct and practices of a certain station in New Orleans. I asked how this station could hold a yearly event for the youth, designed to promote education & peace, while inviting a slew of artists to perform music promoting ignorance and violence. I asked how they could hope to represent local hip-hop properly if their programming was heavily influenced by bribery. The owner vowed to take legal action on me and the site for expressing my opinion on their programming. Since I don't like to spread rumors, I asked the station's owner and their #1 on-air personality to find any falsehoods in my statements, and to correct any misconceptions I might have. Instead of giving me a legitimate answer, I got insulted and threatened. I have since had two of the station's other personalities e-mail me their appreciation for my honesty, and also confirmed some rumors about the station's shady dealings. It's now water under the bridge.
Does New Orleans have any alternatives? Every Thursday night, from 10PM to 2AM on 91.5FM, Tulane's underground college radio show blesses the airwaves with quality hip-hop programming. Below the Basement is a show geared towards the surviving heads in the city. Featuring actual hip-hop DJs, instead of radio "personalities", the programming spins new songs, popular or not. This also means songs are played on vinyl records, instead of compact discs. DJs blend records together, add scratches at the end of songs, and flip songs in all types of methods that I don't even have names for. On most weeks, they invite guest DJs (professional and amateur) from throughout the city to come in and show their skills on the wheels of steel. It's all love, and the listeners, DJs, and participants have a mutual respect for hip-hop. For that four hours a week, one can actually listen to radio how it is intended to sound.
