Oil and water ‘don’t’ mix: Hip Hop moves from Culture to Corporate and affects the artistic form of Brit Hop
“The quality of lyrics eventually came to be dictated by record labels unfortunately, in order to move CD’s off the shelf rather than move people for change.†Smith and Jackson: The Hip-Hop Church, 2005.
Now people! We’re approach the nuclei of our discussion as we look into how the exploitation of Hip Hop via Record labels paved the way for critics to draw parallels between Hip Hop culture and youth crime. It began with rap and slowly other Hip Hop elements followed. Join me as I explore how and why.
By the 1990’s, Hip Hop’s influence over young people became apparent to advertisers and mainstream record labels. Soon after rap was exposed in pop world, attire was next which is evident via artists like Run DMC. Their Adidas trainers with no shoe strings were a trademark for them. It was reported that at a concert in Madison Square Garden, Run told the crowd to put their Adidas’ in the air, and they obeyed. When the concert was over, an Adidas rep was waiting with an endorsement deal.
The commercial movement gave artists licence to expand in their ‘art’ into ‘businesses’ as we’ve seen via P.Diddy’s clothing line ‘Sean John’ and his new ‘unforgivable’ fragrance (he said it, not me) .
Whether artists become involved in Hip Hop for the love of the culture or the love of money, brings about confusion for the up and coming generation who aspire to be like their commercial ‘role models’ and concern for those with a genuine love for Hip Hop who witness the destruction corporate mentality has on the art.
Hip Hop analyst Dwight Macdonald, once said: “Mass Culture, is at best a vulgarized reflection of High Culture.†Hip Hop was once a culture catering to a niche, urbanised, ethnic society but in order to sell records in their thousands, it stretched out to cultures who had little understanding of the custom but were willing to buy the records as a form of rebellion towards their suburban society which created opportunity for commercialisation and glamorisation of materialism and violence.
The negative effects of commercialised Hip Hop and totalitarianism is problematic for a whole range of youths from diverse backgrounds with lack of understanding of Hip Hop’s original form. With this in mind, it would appear that the corruption of youth culture would reside amongst the commercial primary consumers.
To summarise, the corporate world’s aim to create a mass culture is where the problem lies. Yes, culture was created for and by humans, but the fact remains, culture was formed for a specific people with specific understanding and appreciation. The totalitarian approach record labels, advertisers, etc have, eliminates the niche society, generates stereotypes for Hip Hop society, and glamorises violence and misogyny- the very things Hip Hop was initially designed to speak against.
Some may agree with my conclusion, some beg to differ. Regardless, let me know what you think by posting your comments.
Next week I’ll be walking further along the Hip Hop timeline and discussing ‘The Gangster Fairytale.’
Stay blessed,
Nadia Gasper.
Comments
Hi Nadia, I've enjoyed
Hi Nadia,
I've enjoyed reading your series so far, it's given me lots to think about. It's a big, ambitious subject to take on and I think you tackle it well.
I think sometimes you could expand and clarify some of your points though, for example: "The negative effects of commercialised Hip Hop and totalitarianism is problematic for a whole range of youths from diverse backgrounds with lack of understanding of Hip Hop’s original form. With this in mind, it would appear that the corruption of youth culture would reside amongst the commercial primary consumers." - what do you mean by 'totalitarianism', and what are the 'negative effects' of this?
For my own part, while I appreciate that a cliched, narrow minded, negative gangster stereotype is often promoted by record companies, I can only talk about the scene I see around me, and which I'm partly involved in - grass-roots collectives of MCs, beatboxers, b-boys/girls, graf writers, and DJs, such as Freestyle Mondays and Sketch City - where Hip Hop's original ethos of a positive creative artistic community can be seen to be thriving, and which provide a real alternative for young people to emulate, countering negative mainstream stereotypes. If you don't like it, don't buy it, and spend your money on creating something in the spirit of what you'd like to see - that's my philosophy.
Looking forward to the next instalment!
Peace.
In response...
Dear reader.
Thank you for your comments.
By 'Totalitarianism' I'm referring to the idea of the corporate world grouping every young demographic together whether rich, poor, Black, White, Rasta's or Punk Rockers and assuming they'll be able to understand Hip Hop with the same perspective.
As previously mentioned, Hip Hop was initially a form of expression and a reflection of life in the Bronx which many Americans of ethnic minorities understood. Whereas, the same lyrics to a young, Suburban White child with no understanding of where the culture comes from may see it differently which as we've seen leads to stereotypes and misinterpretation. Whether it ultimately is to blame for youth crime is the question.
As far as the ‘if you don’t like it, don’t buy it’ philosophy is concerned, I find that a very complex subject in itself!
Although in many respects I agree with what you’re saying, I also believe the influence of Hip Hop is now far beyond the realms of what one chooses to keep in their CD collection. Unless you live in a cave the culture is almost impossible to avoid. I think record companies and advertisers have taken full advantage of that and rather than using their power for positive, they exploit it as a ‘pimping, ‘niggerish’ ‘ride or die’ commodity. Again, whether this is responsible for youth crime is something to be explored.
Once again, thanks for your support, I hope I’ve made things clearer. Keep reading.
Stay blessed,
Nadia Gasper.
xx
Hip Hop Distortion Temporary?
Do you think that, as more and more people reject the distortion of rap hip-hop's original purpose/direction, that rap and hip-hop will change to relfect that - change for the better? (I read somewhere that on of the movement's major artists has rejected use of the 'nigger' word in favour of 'cousin' to describe friends/ close associates - is this part of a slow but inexorable reorientation?)
In response...
Dear Reader.
They'll always be artists using rap and hip hop to express positive, deep messages or negative, shallow ones. Which message prevails can be seen in what young people listen to or emulate more.
I hope that more positive role models in every part of society including politics, media and even sport will encourage rappers to express the good things that happen in the world.
As far as replacing the word 'nigger' with 'cousin' is concerned, it seems like a good thing on the surface as I personally have never believed the whole' turning the word into a positive meaning' ever worked. But 'Cousin/Cous' is also a word used by a gang in America, therefore it may need rethinking...'chicken' has always been a good one for me but I'm not sure it'll kick off!
Thank you for your comment. Keep reading.
Stay blessed,
Nadia Gasper.