I wrote this a couple of weeks ago. I decided to publish it here. Anyone that likes music, especially HipHop should check it out.
Some people believe the notion that nothing lasts forever. But is it true? There are a million topics that could be discussed. For entertainment and enlightening purposes, let’s choose hip hop. Most are starting to see that hip hop culture today, is not what it was intended to be when it became prominent in the music industry. Original hip hop or old school as some call it, involved disk jockeys (DJs) and Masters of Ceremony (MCs). The music was fresh, creative, independent, and easily moved the crowd. Other elements of art were incorporated such as graffiti, poetry, and dancing. A true fan can surely recognize the distinction amid predominately positive hip hop origins versus what is now considered mainstream. As hip hop evolves into big business, the aforementioned elements are continuously being merged and modernized by trends. It seems as if today’s hip hop fans are more focused on the celebrity of the rapper and the beat of the music rather than the art and unity that helped build the brand.
The roots of hip hop extend all the way to West Africa and Jamaica. However, true hip hop flourished through a tough time in one of the most infamous urban areas in America. During the 1970s as the Bronx Expressway was being constructed in the heart of the Bronx, New York many businesses fled causing unemployment rates to sky rocket. In turn, disadvantaged minorities became victims of a poverty stricken ghetto in which violent gangs run rampant on neighborhood streets. Communities would unite with block parties becoming popular. DJ Kool Herc (Clive Davis), the godfather of hip hop, found a way to get the crowds moving by isolating and extending the percussion breaks from rock, disco, and funk music using two records with turntables and an audio mixer. Other original DJs such as Grand Wizard Theodore, Grandmaster Flash, and Afrika Bambaataa, helped develop and refine the art of basic deejay practices of mixing, scratching, and cutting. Partygoers jammed to the musical blend, often entertaining others in a distinctive, frenetic style dubbed break dancing; the dancers, b-boys and b-girls. As time went on, performers began emceeing on the microphone while the music played; casually shouting out friends in the crowd to a four-count beat, with a chorus and later incorporating brief rhymes with the same rhythmic approach. The first emcee crew was formed when Herc connected with two MCs, Clark Kent and Coke La Rock, named Kool Herc and the Herculoids. They became the foundation for other emcee crews to mimic as more teams quickly developed.
Perhaps it became so popular due to its freedom of personal expression and low start up costs as the equipment was reasonably priced. With that, other pioneers made timely impacts in the hip hop community. Kurtis Blow inked a record deal with a major label under manager Russell Simmons; later releasing hip hop’s first gold single “The Breaks.” The Rock Steady Crew led the way in break-dancing. The term hip hop grew after rappers LoveBug Starski and Cowboy (Keith Wiggins) of Grandmaster Flash and the Furious Five used it frequently in the late 70s. The term was most notably introduced by way of The Sugarhill Gang when “Rapper’s Delight” was released in 1979 drawing commercial appeal and ultimately becoming mainstream America’s first exposure to rap music.
Contrary to popular belief, rap and hip hop are separate entities. Hip hop is a lifestyle consisting of its own fashion, techniques, and lingo. Rap is simply the musical expression stemming from hip hop culture. KRS One said it best “Hip-hop is something you live, rap is something you do.” The mid 80s to 90s consisted of hip hop culture becoming internationally recognized for its originality. Artists had individual sound that was dictated by their community, not by marketing strategists. The music led to an entire cultural movement that altered generational thinking from politics and race to art and language.
Run DMC emerged on the scene with a sleek sound and innovative rap style, symbolically ending the prior, old school style. They were one of the most influential acts that signified the introduction of the new school hip hop music, along with The Beastie Boys, Public Enemy and LL Cool J. Aside from breathing fresh air into the music, new school representatives implemented more of a ‘street’ style incorporating unlaced Adidas, fedoras, and track sweat-suits; despite old school fashion still lingering with chest-baring shirts, tight leather, and gloves with spikes and rhinestones.
Run DMC had yet another pivotal moment with the hip hop version release of Aerosmith’s “Walk This Way,” breaking pop charts and mass media at once. Within the same timeframe“Eric B. is president” dropped, challenging his peers to improve their craft on their new records. Eventually, the likes of Nas, Queen Latifah, NWA, and Salt N Pepa began sprouting on the scene. With these groundbreaking artists hitting the scene, hip hop was becoming more profitable. Each had a different vision than the next and unique stories to deliver over less flamboyant beats. Sampling became expensive so producers commenced live instruments. Artists mostly discussed their lives, harmless fun with classy conduct, and topics like politics and righteousness that triggered critical thinking in the brain of its listeners. It was gaining critical acclaim from people all over the globe for its great art, empowering them to find solutions to the oppression occurring worldwide and creating unity amongst diverse races.
Shortly thereafter, hip hop took a new direction. A small meeting with a handful of music executives occurred, changing the course of hip hop forever. In the meeting, it was discussed that hip hop would be used to annihilate the coming generations. After all it would not be a hard task since the industry was different then. Alternative news media was not accessible therefore the industry had more control and could influence the public anyway it wanted to. The involvement of big business took away the creative freedom from artists, placing them in the hands of major record labels. Some of those same labels silently invested millions into the building of what is now labeled the prison industrial complex. For perspective, privately owned prisons would receive funding from the government based on the number inmates.
You read right.
Hip hop was chosen to market music that promotes criminal behavior. On top of that, the government would pay these prisons more money for more inmates.
Many have the misconception the new trend is simply supply and demand. However, it’s necessary for the populace to stare reality in the face. Rap artists that used to talk about community and justice swiftly faded as gangster rap flooded the airwaves. In turn, the youth have adopted and emulated criminal behavior often leading to incarceration.
This is not a diss to the current state of hip hop. Nor is it a diss to upcoming and existing artists in the game. The main intention is to examine the contributing factors to the degradation of an entire race and the criminalization of a generation; to recognize that the music being heavily promoted today prohibits the youth’s forward progress. Hip hop fans must realize they’ve been bamboozled for the past 20 years.
Both the lyrics and the lifestyle portrayed in modern music hurt the community. As if it isn’t already severely damaged by the societal restraints it’s been enduring since American colonization. Society has enough problems struggling to keep the family together yet drugs, crime and violence are now the main topics in hip hop music.
Unfortunately, instead of thinking independently, the general public usually follows whatever trend is popular at the time. They blindly attempt to live the same materialistic lifestyle constantly knocking at the drum of their ears on radio stations and television. Most don’t realize that the people they often look up to knowingly glamorize an obviously unhealthy lifestyle solely for fame and riches. With this information unbeknownst to them, young black men and women alike have grown so fascinated with materialism and passionately embrace this immoral music. Men are more concerned with sex and money than books and history. A lot of them would rather be posted in the trap like Young Jeezy or chasing women like Trey Songz. Women seem to have lost all self-respect by supporting something morally degrading them. They have subjected themselves to becoming sexual objects by frequently booty popping like Beyonce and enjoying emasculation and vulgarity from Nicki Minaj. They mostly desire men with money or living the thug life as opposed to his character and/or what he stands for. (For the record, stating those artists’ names does not place any specific blame on them individually)
It’s safe to say cash ruined everything about music. The old school hip hop culture warned youngsters to avoid what is now popular. What started out as helpful to the black community has now been the same medium used to hurt it. The most disturbing aspect about new school artists is that very few of them use their voice to take a stand and denounce vile language and degrading imagery. Yet, their fans continually support them because they only see it as entertainment. Luckily, there are some gracious artists out there who acknowledge what’s in the shadows such as Lupe Fiasco, Kendrick Lamar, and Immortal Technique.
Black American roots trace way back to Africa where ancestors lived as kings and queens. Look how far we’ve come. The harsh realities inflicted upon black America have been extremely exploited yet accepted in society. {insert Jim Crow} Maybe now that the secret is out, hip hop fans will begin to think before they act. Starting by taking care of themselves and getting all of their loved ones involved instead of taking the easy route and letting others figure things out for them. Men may want to consider not sowing their royal oats here, there, and everywhere. Women should halt the production of derogatory music by ceasing to support it. Both should take the responsibility to want to build families again. The current generation is responsible for the future generations. The upcoming generation should not be weaker nor the same as the previous. It should always be stronger and more advanced. Therefore, another shift has to take place because nowadays children know rap songs before they know their 123s and ABCs.
Real hip hop fans prefer to stick to underground music more than mainstream because those artists still possess main creative control. Switching from radio stations and television sets to the internet. It is true that nothing lasts forever. One can conclude that time sure has a way of pushing us along. Over a span of 40+ years hip hop culture is truly not the same. But there is something that will. It’s something that a lot of people are afraid of, though it’s inevitable. Of course you’re wondering what it is already. If you don’t take anything else from what you just read, remember this one thing. Change will forever be constant.
Some people believe the notion that nothing lasts forever. But is it true? There are a million topics that could be discussed. For entertainment and enlightening purposes, let’s choose hip hop. Most are starting to see that hip hop culture today, is not what it was intended to be when it became prominent in the music industry. Original hip hop or old school as some call it, involved disk jockeys (DJs) and Masters of Ceremony (MCs). The music was fresh, creative, independent, and easily moved the crowd. Other elements of art were incorporated such as graffiti, poetry, and dancing. A true fan can surely recognize the distinction amid predominately positive hip hop origins versus what is now considered mainstream. As hip hop evolves into big business, the aforementioned elements are continuously being merged and modernized by trends. It seems as if today’s hip hop fans are more focused on the celebrity of the rapper and the beat of the music rather than the art and unity that helped build the brand.
The roots of hip hop extend all the way to West Africa and Jamaica. However, true hip hop flourished through a tough time in one of the most infamous urban areas in America. During the 1970s as the Bronx Expressway was being constructed in the heart of the Bronx, New York many businesses fled causing unemployment rates to sky rocket. In turn, disadvantaged minorities became victims of a poverty stricken ghetto in which violent gangs run rampant on neighborhood streets. Communities would unite with block parties becoming popular. DJ Kool Herc (Clive Davis), the godfather of hip hop, found a way to get the crowds moving by isolating and extending the percussion breaks from rock, disco, and funk music using two records with turntables and an audio mixer. Other original DJs such as Grand Wizard Theodore, Grandmaster Flash, and Afrika Bambaataa, helped develop and refine the art of basic deejay practices of mixing, scratching, and cutting. Partygoers jammed to the musical blend, often entertaining others in a distinctive, frenetic style dubbed break dancing; the dancers, b-boys and b-girls. As time went on, performers began emceeing on the microphone while the music played; casually shouting out friends in the crowd to a four-count beat, with a chorus and later incorporating brief rhymes with the same rhythmic approach. The first emcee crew was formed when Herc connected with two MCs, Clark Kent and Coke La Rock, named Kool Herc and the Herculoids. They became the foundation for other emcee crews to mimic as more teams quickly developed.
Perhaps it became so popular due to its freedom of personal expression and low start up costs as the equipment was reasonably priced. With that, other pioneers made timely impacts in the hip hop community. Kurtis Blow inked a record deal with a major label under manager Russell Simmons; later releasing hip hop’s first gold single “The Breaks.” The Rock Steady Crew led the way in break-dancing. The term hip hop grew after rappers LoveBug Starski and Cowboy (Keith Wiggins) of Grandmaster Flash and the Furious Five used it frequently in the late 70s. The term was most notably introduced by way of The Sugarhill Gang when “Rapper’s Delight” was released in 1979 drawing commercial appeal and ultimately becoming mainstream America’s first exposure to rap music.
Contrary to popular belief, rap and hip hop are separate entities. Hip hop is a lifestyle consisting of its own fashion, techniques, and lingo. Rap is simply the musical expression stemming from hip hop culture. KRS One said it best “Hip-hop is something you live, rap is something you do.” The mid 80s to 90s consisted of hip hop culture becoming internationally recognized for its originality. Artists had individual sound that was dictated by their community, not by marketing strategists. The music led to an entire cultural movement that altered generational thinking from politics and race to art and language.
Run DMC emerged on the scene with a sleek sound and innovative rap style, symbolically ending the prior, old school style. They were one of the most influential acts that signified the introduction of the new school hip hop music, along with The Beastie Boys, Public Enemy and LL Cool J. Aside from breathing fresh air into the music, new school representatives implemented more of a ‘street’ style incorporating unlaced Adidas, fedoras, and track sweat-suits; despite old school fashion still lingering with chest-baring shirts, tight leather, and gloves with spikes and rhinestones.
Run DMC had yet another pivotal moment with the hip hop version release of Aerosmith’s “Walk This Way,” breaking pop charts and mass media at once. Within the same timeframe“Eric B. is president” dropped, challenging his peers to improve their craft on their new records. Eventually, the likes of Nas, Queen Latifah, NWA, and Salt N Pepa began sprouting on the scene. With these groundbreaking artists hitting the scene, hip hop was becoming more profitable. Each had a different vision than the next and unique stories to deliver over less flamboyant beats. Sampling became expensive so producers commenced live instruments. Artists mostly discussed their lives, harmless fun with classy conduct, and topics like politics and righteousness that triggered critical thinking in the brain of its listeners. It was gaining critical acclaim from people all over the globe for its great art, empowering them to find solutions to the oppression occurring worldwide and creating unity amongst diverse races.
Shortly thereafter, hip hop took a new direction. A small meeting with a handful of music executives occurred, changing the course of hip hop forever. In the meeting, it was discussed that hip hop would be used to annihilate the coming generations. After all it would not be a hard task since the industry was different then. Alternative news media was not accessible therefore the industry had more control and could influence the public anyway it wanted to. The involvement of big business took away the creative freedom from artists, placing them in the hands of major record labels. Some of those same labels silently invested millions into the building of what is now labeled the prison industrial complex. For perspective, privately owned prisons would receive funding from the government based on the number inmates.
You read right.
Hip hop was chosen to market music that promotes criminal behavior. On top of that, the government would pay these prisons more money for more inmates.
Many have the misconception the new trend is simply supply and demand. However, it’s necessary for the populace to stare reality in the face. Rap artists that used to talk about community and justice swiftly faded as gangster rap flooded the airwaves. In turn, the youth have adopted and emulated criminal behavior often leading to incarceration.
This is not a diss to the current state of hip hop. Nor is it a diss to upcoming and existing artists in the game. The main intention is to examine the contributing factors to the degradation of an entire race and the criminalization of a generation; to recognize that the music being heavily promoted today prohibits the youth’s forward progress. Hip hop fans must realize they’ve been bamboozled for the past 20 years.
Both the lyrics and the lifestyle portrayed in modern music hurt the community. As if it isn’t already severely damaged by the societal restraints it’s been enduring since American colonization. Society has enough problems struggling to keep the family together yet drugs, crime and violence are now the main topics in hip hop music.
Unfortunately, instead of thinking independently, the general public usually follows whatever trend is popular at the time. They blindly attempt to live the same materialistic lifestyle constantly knocking at the drum of their ears on radio stations and television. Most don’t realize that the people they often look up to knowingly glamorize an obviously unhealthy lifestyle solely for fame and riches. With this information unbeknownst to them, young black men and women alike have grown so fascinated with materialism and passionately embrace this immoral music. Men are more concerned with sex and money than books and history. A lot of them would rather be posted in the trap like Young Jeezy or chasing women like Trey Songz. Women seem to have lost all self-respect by supporting something morally degrading them. They have subjected themselves to becoming sexual objects by frequently booty popping like Beyonce and enjoying emasculation and vulgarity from Nicki Minaj. They mostly desire men with money or living the thug life as opposed to his character and/or what he stands for. (For the record, stating those artists’ names does not place any specific blame on them individually)
It’s safe to say cash ruined everything about music. The old school hip hop culture warned youngsters to avoid what is now popular. What started out as helpful to the black community has now been the same medium used to hurt it. The most disturbing aspect about new school artists is that very few of them use their voice to take a stand and denounce vile language and degrading imagery. Yet, their fans continually support them because they only see it as entertainment. Luckily, there are some gracious artists out there who acknowledge what’s in the shadows such as Lupe Fiasco, Kendrick Lamar, and Immortal Technique.
Black American roots trace way back to Africa where ancestors lived as kings and queens. Look how far we’ve come. The harsh realities inflicted upon black America have been extremely exploited yet accepted in society. {insert Jim Crow} Maybe now that the secret is out, hip hop fans will begin to think before they act. Starting by taking care of themselves and getting all of their loved ones involved instead of taking the easy route and letting others figure things out for them. Men may want to consider not sowing their royal oats here, there, and everywhere. Women should halt the production of derogatory music by ceasing to support it. Both should take the responsibility to want to build families again. The current generation is responsible for the future generations. The upcoming generation should not be weaker nor the same as the previous. It should always be stronger and more advanced. Therefore, another shift has to take place because nowadays children know rap songs before they know their 123s and ABCs.
Real hip hop fans prefer to stick to underground music more than mainstream because those artists still possess main creative control. Switching from radio stations and television sets to the internet. It is true that nothing lasts forever. One can conclude that time sure has a way of pushing us along. Over a span of 40+ years hip hop culture is truly not the same. But there is something that will. It’s something that a lot of people are afraid of, though it’s inevitable. Of course you’re wondering what it is already. If you don’t take anything else from what you just read, remember this one thing. Change will forever be constant.
