In a recent interview with FACT Magazine, grime godfather Wiley remarked on the phenomena of British rappers struggling to break into the mainstream, with their American counterparts finding crossover success much more regularly. There is ample evidence that proves his point, from Americans' homegrown development of hip hop staking the claim to have founded the genre, to the variety of rather mediocre rappers that have and are receiving big major label contracts. Wiley is on to something here, but it may not be as cut and dry as he suggests. 

What the UK does so well is develop new genres in rapid fashion, from blues rock and trip hop on through hardcore and dubstep...each with their own bell curve in terms of mainstream successes. That American hip hop has been able to gradually form such an integral part of the USA's culture over 30 to 40 years is a testament to the melting pot of subcultures that have come to define hip hop, usually identified by region and accent. This reach across such a large country has enabled the genre to stay energized and continue growing, as each region takes its turn in the limelight.

In comparison to the life cycle of genres in the UK, the U.S. is a large animal, with a slow heartbeat that needs to take its time to fully nourish every limb. Britain operates at a smaller scale, but moves that much more rapidly through its progressions. And so we have a genre such as grime, with rappers evolving to spit over high tempo beats, constantly keeping up with the pace of UK producers. Their accent and quick-fire flow are what define them, whereas the rise of the Internet has coincided with an increase in Southern hip hop's syrupy pace and languid drawl. 

The oceans are smaller than ever before, but the styles are far apart. It could be the spread of Southern production techniques combined with a bona fide accent: Houston/Virginia has consumed the American mainstream, and in the process, disempowered one of the cornerstones that made the Golden Era so crucial: deft lyricism. Wiley is right, the mainstream wants US accents, which is why certain Harlem and San Francisco rappers are being lauded as the best thing since sliced bread. But what grime needs to remember, as well as hip hop heads today, is that accents alone don't mark your spot in history.

An accented flow + dense lyricism is how many successful, but not necessarily mainstream Golden Era artists made their claim to greatness. Sure, a smooth flow and yes, an American accent, will get you $3 million. But dope lyrics are behind every classic, from moneymakers like "A Milli" to landmarks such as "NY State of Mind". The charts may be inhabited by plenty of flash-in-the-pan rappers, but the history books belong to those select few who go beyond the accent, who don't rely on it. Grime needs to follow suit, and focus on the whole package as opposed to falling on the accent excuse. After all, one of the genre's most heralded classics, Dizzee's Boy In Da Corner, was not a one trick pony. Style over substance is a mainstream affliction seeping into the underground on both sides of the pond, and the sooner this balance is restored, the better off hip hop, grime, and contemporary music will be.