50 Cent’s Saturday concert looked like a détente between schools and generations of hip-hop. The This Is 50 Festival, on Governors Island’s Water Taxi Beach, began with insightful, still-sweet rappers Kid Cudi and Wale. 50 Cent, one of the last of the big-time gangsta rappers, who had multimillion-selling albums in 2003 and 2005 before gangsta lost momentum, also performed.

But that was a fake-out. After amiably received sets by the newcomers, 50 Cent took over with a two-and-a-half-hour gangsta extravaganza. The set was crammed with guest slots — friends, allies, disciples — and insisted gangsta was still alive, rough and ready to compete.

The songs were about danger and outlaw excess — guns, drugs and sex — with crude, shout-along hooks. The neat backup tracks of the openers gave way to thudding, cranked-up bass lines and distortion, punctuated by the sounds of gunshots and breaking glass from the D.J., Whoo Kid. As at old-school New York rap shows, the stage was filled with onlookers; rappers demanded, “Put your hands up!” — as a dance move, not a holdup. And the sold-out crowd exploded. This was the bad-guy party they came for.

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With his baby face, his boyish grin, his genuine gunshot wounds and the singsong choruses of his hits, Curtis Jackson, a k a 50 Cent, established himself as a gangsta rapper who could also be a charmer: gruff and belligerent, but also amused. His next album, “Before I Self Destruct,” has been delayed repeatedly, and his recent mixtape, “Forever King,” presents a paranoid, embittered character, but he was smiling broadly onstage. He was as much host as star: performing a song or two, mostly from his first albums, and then announcing a surprise and bringing on another guest.

They included not only his own G Unit (with Tony Yayo and Lloyd Banks), but also D-Block (formerly the Lox), Wyclef Jean, Maino and Red Cafe. Between songs about lust and crime were celebrations of upward mobility despite the odds, like “We Gonna Make It” by Jadakiss of D-Block and Maino’s triumphant “All the Above.” But less righteous boasts, like 50 Cent’s “What Up Gangsta” and “P.I.M.P.,” drew even stronger reactions.

There were more guests before 50 Cent made his entrance: Jim Jones and Juelz Santana, along with Al Be Back, Uncle Murda, Cory Gunz, Papoose and the four-rapper group Slaughterhouse. Mr. Gunz showed off a virtuosic delivery, accelerating and decelerating. Papoose started rapping his way through the alphabet, with long strings of words all starting with the same letter; he got to G before his time ran out.

The openers made every effort. Kid Cudi, although he appears on the new album by Jay-Z, is an oddball in hip-hop. He’s somewhere between rapper and singer, intoning his rhymes on a few notes, and instead of boasting, he presents himself as an introvert, confessing to his vulnerabilities and uncertainties, imagining himself as a visitor from another planet. It’s a persona better suited to headphones than to an outdoor concert. Wale, a Washington, D.C., rapper who thinks hard about the state of hip-hop when he’s not bragging about being “the brightest of the youth,” was more vigorous and endearing.

This concert’s right was no match for the huge number of stories of wrongs, even those years old. Only time will tell if this is the marking of a new era in rap, or a new movement towards hip-hop nostalgia.

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My Take: The first time I heard a radio station that promised to play the “best of the 80’s, 90’s, and today”, my father- who was also in the car- turned down the volume and said, ‘it’s official: you have nostalgia music’.

As bizarre as it is to think of “P.I.M.P.” as indicative of a specific time and place now gone, the good news is, we’ll probably have something to gab about as we sit in our rocking chairs on our front porch. Wait, I meant front stoop.

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Music Played

One type of music that is chosen is techno music, which is a form of electronic dance music that originated in Detroit.  Hip hop disc jockeys select and play music using multiple turntables, often to back up one or more MCs, and they may also do turntable scratching to create percussive sounds. In reggae, the disc jockey (deejay) is a vocalist who raps, “toasts”, or chats over pre-recorded rhythm tracks while the individual choosing and playing them is referred to as a selector.  Disc jockeys, like DJ Michelangelo, may or may not travel with portable sound systems, do appear at a variety of events.

Perched (rather, trying to perch) on a piano, orbited by an assorted of metal rings around her body, Lady Gaga cracked up onstage in the beginning of Saturday Night Live’s new season. While the Swedish singer popped in her own right, the performance fizzled thanks to Gaga’s stage partner, Madonna.

The artist formerly known as the Material Girl appeared in an early skit for a brief exchange of put-downs with the current pop fave. Perhaps a symbol of passing of the pop diva torch, or perhaps some sort of mocking her 2003 MTV Video Music Awards pairing with Britney Spears and Christina Aguilera, which was then meant to serve as some sort of passing of the pop diva torch, Madonna looked uncomfortable, and not quite sure of why she was tussling with Lady Gaga. It all felt a bit hastily thrown together, and little more than an excuse to show two pop stars in a cat fight.

Not to mention — Madonna doesn’t need to stump to these kind of promotional appearances. Even with a greatest hits collection released to stores last week, let’s let Lady Gaga have her moment, or at least give Madonna something better to say than, “Guess what, I’m totally taller than you.”

Or perhaps we should just give credit where credit is due.

Lady Gaga was joined by Madonna on “Saturday Night Live,” and the high-profile guest shot failed to overshadow Gaga’s second music performance, a piano-based medley of her hits, as well as a touch of new song “Bad Romance.”

Pulling off a medley is no small feat itself, as they reek of award-show self-aggrandizing. But Gaga looked free and unrehearsed, and tossed off a rare medley worth watching. While it would have been nice to hear a bit more of forthcoming single “Bad Romance,” what audiences received was even better. Free from the tired retro ’80s synth pop of “LoveGame,” Gaga flashed her nightclub-ready pipes when she went solo at the piano, and also showed off a bit of improvisation.

While diving in and out of “Poker Face,” Gaga played to the New York crowd, bragging about the hot dogs on 72nd Street (”they’re tasty and they’re cheap”) and even exposed some baseball loyalties. Gaga copped to being nostalgic for the days when she “cheered for the Yankees with my dad in Section 6,” and Major League Baseball responded by giving  her a shout-out (perhaps a National Anthem at a playoff game is in her near future).

Yet whereas most artists come to late night television to show off their latest singles and generate a few headlines, Gaga, who can say the words “disco stick” with a straight face, displayed a side of herself that isn’t always in evidence on her 2008 smash album, “The Fame”: She’s not afraid to take risks.

Style-wise. Lady Gaga is respected as fearless and original, but her electro-pop has been less rule-breaking. Leaving her red lace, glass-bra’d self bare and dismantling her highly produced songs into simply piano and voice, Gaga shows herself to venture forth bravely. She did so with a courage that is- sadly- rare on national television. It’s a pleasure to see a popstar doing more than a pole dance. Too bad it was after midnight.

My Take: When pop stars first started exploring their sexuality- like Ella Fitzgerald, Elvis, and yes, even Joni Mitchell- it was a revolutionary, communal celebration of the formerly taboo.

Now, when a singer gyrates half-naked on stage or in front of the camera, it is just another addition to the long litany of performances that have less to do with music, and more about showing off the star’s hard-won hard bod.

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