rappers? grrrrrrrrrrrrrrrrrrrrrrr

Rappers that abuse and sell out their own people and culture should be held to account, but that's only part of the picture, says Hip Hop artist Paris. If huge media corporations stopped demanding anti-social lyrics, "gangstas would stop being gangstas and misogynists would stop being misogynists at the drop of a dime." Don't look to the music industry - the people that created the problem - for remediation. Meanwhile, the commercial rap genre is imploding, the result of pollutants cultivated by powerful forces from outside the culture.

Are You a Hip-Hop Apologist?

By Paris (April 25, 2007)

Since the Imus controversy erupted there has been a lot of finger-pointing and blame-placing as to what the root of the problem really is. Of course, we all know that racism and sexism existed before hip-hop -- that's a given. But it's completely beside the point when our (black) culture is dictated to us by white corporations. Follow me...

For the record, most folks in our communities didn't even know Don Imus before he made headlines with his slurs (and many still don't). For the most part, we remain oblivious to the tirades of him, Bill O'Reilly, Sean Hannity and others who constantly malign us and foster a climate of intolerance simply because these talking heads don't speak to US. For Imus to blame black culture as being the reason for his ignorance is both sad and backwards. He's a racist and a sexist, pure and simple, and he can't blame an art form or a culture that I'm certain he has little knowledge of for his actions. The fact that he named hip-hop "culture" as a culprit is telling, however.

If you haven't noticed by now, life imitates art -- it's not the other way around. There is no stronger cultural influence on people now than popular media, and hip-hop is at the forefront. Ask almost any child about the lyrics to a popular song or a scene from a video or movie and more often then not they will know the details better than they know their school lessons. Entertainers and the culture of celebrity that we find ourselves living in often hold more weight with kids than parents, educators, preachers politicians or even sports heroes. Can we blame some rappers for selling completely out? Of course. Be we have to look at the entire picture.

The argument is often made by Russell Simmons and others that rappers are poets who simply report on what they feel and their surroundings, and that they shouldn't be censored. As an emcee, on that point we partially agree -- we shouldn't be censored. But balance between the negative and positive needs to be provided, and it currently isn't. Most artistic integrity is questionable at best. My understanding is that artists are supposed to express what they believe in at all costs (if not, there's work at the post office). But most don't, and they mold their approaches to making music based on what they perceive major labels want. If Def Jam or Interscope or any of these other large culture-defining companies issued a blanket decree that they would only support material and artists with positive messages then 99% of those making music now would switch up to accommodate. That's real talk. I'm not saying these labels should (or would), but if they did, gangstas would stop being gangstas and misogynists would stop being misogynists at the drop of a DIME. Many artists are like children, and most will say and do what is expected of them in order to benefit financially. And although there is definite self-examination that needs to take place within the artist community, the lion's share of the blame falls on the enablers who only empower voices of negativity. Record labels and commercial radio often use the excuse that they are "responding to the streets" and that they are "giving the people what they want." BULLSHIT. They dictate the taste of the streets, and people can't miss what they never knew. The fact is that there are conscious decisions made by the big business and entertainment elite daily about what to present to the masses -- and it is from those choices that we are allowed to decide what we do and do not like. Who presents the music that callers are invited to "make or break" on the radio? That callers are invited to "vote on" on T.V.? Who decides on what makes it to the store shelves or the airwaves at all? Like I said, life imitates art, and pseudo-black culture is determined by those other than us every day. Walk into any rap label or urban radio station and you can count the number of black employees on one hand.

The argument in response could be made in defense of labels that if they don't respond to the streets then the music will just go underground. Huh? WHAT underground? Do you know how much good material is marginalized because it doesn't fit white cooperate America's ideals of acceptability? Independents can't get radio or video play anymore, at least not through commercial outlets, and most listeners don't acknowledge material that they don't see or hear regularly on the radio or on T.V. Very few of us are willing to actually seek out material and messages to identify with. As with anything in our fast food culture, we want our entertainment choices fast and in our collective face. For most listeners, all the rest need not apply.

What I want to know is, when did the worst in us become normal and accepted? When did it become par for the corporate course that "black man as thug" and "black woman as slut" be business as usual? Major companies now line up to profit from the buffoonery of a few...at the expense of us all. MTV, Viacom, Clear Channel, Boost Mobile, Amp mobile, Chevy, all major record labels and most video games come readily to mind, but there are many others.

I'm not a hater - although I do hate the imbalance in the industry right now and the negativity it fosters. I'm not calling for censorship. You can't lump me in with the Jesse Lee Petersons and the Armstrong Williamses of the world - bourgeois self-hating black men who demean other black people and profit at our expense. And nobody can say that I'm unqualified to speak on it, since I've contributed to the sale of just under 4 million albums independently, still run my own successful counter-establishment label (www.guerrillafunk.com) and have been embracing messages of self-esteem and self-sufficiency for years.