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From the days of Run DMC to Public Enemy to Kanye West, hip-hop has been a cultural movement, a lifestyle and a form of expression. It has integrated various genres into its creative arsenal over time, such as jazz, techno, blues and even rock.

You can find hip-hop in many forms, such as freestyle rap battles, instrumental beats, poetry, and much more.

“True hip-hop to me is always going to be something that captures the true essence of it, like breaking, D.J.-ing, emceeing and graffiti,” said George Wang, who spends most of his time behind a microphone with the alias MC Golden Child.

Although it is more than a genre of music, the basics of hip-hop have always been defined by the beats and lyrics of its most successful performers.

Lyrics that represent struggles to overcome, lyrics that celebrate the promotion of change, and lyrics with creatively expressed underlying morals have carried hip-hop on their shoulders.

In this age of mainstream hip-hop, however, true lyricism has arguably become a lost art. Artists like Soulja Boy and Lil’ Wayne have used their “swag” to become top selling artists with their unique form of hip-hop, where catchy phrases such as “lick me like a lollipop,” and dances like the “stanky leg,” have been their signature.

“Back in the early 1990’s, you had groups like Souls of Mischief, A Tribe Called Quest, and Pharcyde on the radio, and it was definitely so innovative at the time,” said Wang.

“I feel like now it’s gotten so washed up that you hear the same message,” he added. “That message wasn’t the same [one] that you heard, like hip-hop in its hay day.”

Perhaps less emphasis on lyrics in today’s main stream hip hop scene represents a shift in priorities of listeners.

“Guys like Soulja Boy and T-Pain are good entertainers, but as far as their songs go, it’s a shame that they are even considered to be a part of hip-hop,” said Vinnie Brascia, a PCC student with an iPod full of underground hip-hop.

“In my opinion, strong lyrics are the most important part of a good song, not a catchy beat or a shallow phrase that entertains me. But I guess that’s what people look for nowadays,” Brascia added.

Brascia’s theory of entertainment overtaking lyrics was reiterated by Wang.

“A lot of times I love good lyrics, but it has to be backed up by good production,” said Wang.

He added, “I have so many great MC’s in my rolodex that have the most amazing lyrics, but can’t ride the beat, and it does them no justice. No one wants to listen to music they can’t vibe too.”

Tony Park, a fellow MC, also shared insight as to why lyricism has taken a back seat to entertainment. He claims that good lyrics result from harsh realities. Therefore, listeners don’t want to bother with them.

“Lyrics do matter to people that actually listen, but a lot of people don’t like to face reality. They like to escape it,” said Park. “That is why club songs are good. They allow you to have a good time and get away from the nonsense of the world.”

Another theory about the current era is that true hip-hop is just hidden somewhere in the depths of its underground branch.

Student and hip-hop enthusiast Kurt Hoverson believes that “Hip-hop heads should not worry too much, because there are plenty of up-and-coming artists in the underground circuit.”

Whether the current change in the story of this genre is attributed to Soulja Boy, Lil Wayne, T-Pain or even underground artists, the truth is that hip-hop has simply turned to a new chapter, but has left the window open for a return of its old ones.

Park stated, “Hip-hop just has its seasons. This is the season of club music, but you have so many different eras that always seem to come back.”

So while this new sound is either embraced or rejected by the hip-hop world, one aspect of it remains consistent; Its versatile ability to transform into something new and fresh, or to bring it back to where it was at.

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