“And when I perish,
The meek shall inherit the earth
Until that time it’s on and poppin’”
- Jay-Z, “Lucifer,” 2003

If you take stock in The Game’s recent diss record to Hov, then Jay’s time and that of his contemporaries should indeed be over. With hip-hop in a transition period, a lot’s been made of the next wave of emcees to grab hold of the mainstream, with practically the only rap mag left in XXL offering its definitive statement in the matter with its “Top Freshman of ‘09” back in November.

Two artists included in that list hit the stage at the Nokia Theater in Times Square last night in Asher Roth and KiD CuDi. At first glance, the pair, who teamed up as part of the “Great Hangover” tour, would bring out diametrically opposite audiences—frat boys and hipsters. Oil and water, indeed.

One way or another, the two opposites got their respective co-signs from NY radio staple Funkmaster Flex who opened up on the ones and twos. As an individual who’s supposed to have his ear to “the streets,” his hearing might be in need of a check-up. And spinning 50 Cent’s “I’ll Whip Ya Head Boy” and then signing off with “Party Like A Rock Star” will certain raise more questions about his taste-making talents after three decades deep.

Hot 97 personality Peter Rosenberg also then took to the stage, his comedy routine intact with on-air partner Cipha Sounds. First, he poked fun of the abundance of white people in the crowd, then shouted out black people, and finally signed off, “If you’re black and you’re proud, make some noise!” ‘All in good fun,’ he probably thought, but where’s the pride in that?

88-Key was the first actual performer of the evening. Instead of languishing in the backpacking circles where he made his name producing (and where he would surely be one of the less talented lyricists around), he comes with the stamp of “Kanye West’s best friend,” which he no doubt reminded the crowd of. His decade-in-the-making debut even carried an executive producer credit by Mr. West. Whatever that means. But the crowd didn’t care. West has the charisma, Keys doesn’t, so he was forced to do entertain the crow with jumping jacks and Gwen Stefani-like stage theatrics.

And so, Asher strolled onstage, larkin’ in his go-kart to save the night. At one point, a male fan sat perched atop his buddy’s shoulders. “Somebody just came out of the closet,” pointed out Asher, turning the fan into the object of everyone’s homophobic derision. It was part of Asher’s comedian shtick throughout, but turning against the paying customer should yield a quick about-face from the audience if Asher continues in that role.

Hip-hop music has always been a flyer for the artist’s personality. Even with the importance of image, being the “tough guy” is no longer necessary, as we’ve seen with the popularity of Kanye. In fact, the vulnerable ones have always been the most magnetic—from Pac to X to West. A late model update of his protégé West, KiD CuDi isn’t just vulnerable, he’s self-deprecating. Where Kanye was the underdog boxed into a corner who relentlessly punched his way out, CuDi seems content with sulking, hence tracks like “Down and Out.” Hip-hop has its Morissey.

Yet throughout the melancholy of “The Sky Might Fall” and the like, he kept the same audience enlivened by Asher in rapture until closing with his anthem, “Day N Nite.” Asher was the short upper, CuDi the more satisfying downer.

“I know we facin’ a recession
But the music y’all makin’ gonna make it the great depression”
- Jay-Z, “Death of Autotune,” 2009

In a different sense, Jay.

- Words by Devin Chanda

- Images by Adrian Fernandez