Foreign rappers, with the exception of dancehall emcees, have never fared particularly well in America. Take, for example, Canadian export Snow, whose minor hit "Informer" - an anthem about a snitch that directly resulted in his incarceration - had more ironic, kitsch value and inherent hilarity value than a credible shelf-life. Snow, who claimed to be down with both Snoop and Dre, never received acceptance from U.S. record-buyers or rappers and was shamefully deported to his homeland with his tail between his legs.
More recently marks the emergence of Mike Skinner, the white Brit of the emcee/dj duo The Streets, on the uber-hip Montreal-by-way-of-Williamsburg Vice Records. While Skinner has landed critical praise everywhere, he has yet to strike a chord - and move considerable units - with an American audience.
Americans are also drastically sheltered from (and almost unaware of) the existence of British blacks. Granted, there are a few exceptions. There was the comedic, buffoonish posse in Guy Ritchie's film "Snatch" and the character David Lister on British comedy show "Red Dwarf." That said, Dizzee Rascal may or may not have stereotypes to dispel about his homeland.
What's more American than hip-hop? In no other genre have tales of the almighty American dream predominated - the dream of starting with nothing and cultivating self-earned triumph and accomplishment. Countless collectives have chronicled their tales from street-life subaltern; the East Coast, West Coast, Dirty South and all sub-cliques have exemplified this phenomena of overnight transition from obscurity and poverty to mega-platinum riches.
Rascal's success on "Boy In Da Corner" is quite alarming considering his nationality. The prodigal 18-year-old breezes through his debut with lustrous marks - masterfully and flawlessly transitioning from a derivative of beats - breakbeats, dance, IDM, garage and the abrasive bass of what's more likely found on the Def-Jux label. Mike Skinner of The Streets proved that foreign emcees could deliver, but his message of drinking, smoking pot and being unsuccessful with girls lacked staying power and seriousness. Rascal's struggle resonates much deeper into the listener's psyche.
To the casual observer, Rascal (real name Dylan Mills) might have similarities with stateside hip-hop. He sports throwback basketball jerseys, boasts Air Force One "trainers" and has had his share of feuding, or "beef," with other rappers. After a dispute with fellow Brit-rapper Asher D of the So Solid Crew (essentially a UK version of the Wu Tang Clan) Rascal was stabbed in the chest.
He barely escaped death. For any doubting Thomases out there, Rascal does have the street credibility of which he rhymes.
But those are where the comparisons with mainstream American hip-hop end. Rascal might have cosmetic resemblances, but he deviates significantly from the widespread materialism and misogyny that mainstream hip-hop has fallen to since the death of Tupac Shakur. Rascal, like Shakur, chronicles his frustrating youth filled with poverty, loss, drug abuse and family troubles. "Boy in Da Corner" serves as his memoir of disparaging tales of street-life.
With the exception of Outkast, the state of mainstream rap has fallen far, fast. Rapper Nas' flawless debut "Illmatic" found a young emcee inspired and hungry. Now, the inspiration that resonates is the possibility of wealth and women; the sub-par quality of music properly reflects their shallow goals. Furthermore, the art has evolved less, while the business aspect has overcompensated and hit-singles receive more prominence than solid albums.
"Boy in Da Corner" is an unparalleled masterpiece; but the question resonates: Will Rascal get his undeniably deserved respect or remain in the counter-culture he's created?
A short history of British hip-hop:
1989 Slick Rick
The notorious, eye-patched Slick Rick created controversy with his '80s pimp anthem "Treat Her Like A Prostitute." He later found himself in legal trouble after shooting his cousin and leading the police on a high-speed chase that served as the primary influence for his 1994 LP "Behind Bars." Ultimately, his friendships with Will Smith and
Russell Simmons couldn't convince the now-defunct Immigration and Nationalization Service to let him stay in America.
Essential listening: download the mp3 of "Treat Her Like A Prostitute"
1999 Roots Manuva
Seminal British producer whose debut, "Brand New Second Hand" earned him international accolades, especially in the Caribbean.
Essential listening: "Dub Come Save Me," 2002, Big Dada Records
2003 The Streets
Mike Skinner, voice of The Streets, is an enormously talented bloke whose personal debut, "Original Pirate Material," gives listeners a close look at the life of a perpetually unsuccessful young man growing up in London. While personal, his sometimes comedic tales of drugs, girls, cell phones and videogames can deprive him of earnest intentions.
Essential listening: "Original Pirate Material," 2003, Vice Records
2004 Dizzee Rascal
His debut "Boy In Da Corner" earned him this year's prestigious Mercury Music Prize, beating out Radiohead, The Darkness and Badly Drawn Boy. He also appears on Basement Jaxx's new record "Kish Kash."
Essential listening: "Boy In Da Corner," 2004, XL/Matador
- COSTA CALOUDAS
