.. icized their anti-police stance.( Ro 114) Andre “Dr. Dre” Young, from the NWA crew never dreamed that Straight Outta Compton would change hip-hop and American youth, and told author Ronin Ro that, now Hersh 3 that it has, he regrets it. Ronin Ro, a well known writer for the Source, and his own book Gangsta, says: that if you simply glance at the rise in murders reported in your local newspaper, youll see how the drive-bys and jackings mentioned by NWA years ago have become a full-scale reality, to the point where these quaint slang terms have now been incorporated into the English language(…)Fourteen kids (age nineteen and under) will be killed in gun accidents, suicides, or homicides before sunset. (For this age group, murder rate has increased 125 percent between 1984 and 1990.) Not even natural diseases combined can equal the annual number of teenage deaths attributed to firearms. One out of every 28 Black males born is likely to be murdered; for whites, the ratio can equal the annual number by one of your own: 1990 saw 93 percent of Black murder victims killed by other Blacks. (Ro 5) Now an anger against authority was the popular thing to do in hip-hop.
Even Public Enemy decided to venture into this new “gangsta” sound with “Fight the Power,” in 1989.( Nelson, Gonzales 183) Even though some hip-hop was launching negative views on its audiences, it was growing stronger. Marketing increased. The deep rooted ideas of drug pushing, car jacking, and black on black crimes was being overlooked. Two Harvard undergrads started a flyer called The Source, running it out of their dorm room. (Robinson ). As one writer who writes for them from time to time, Ronin Ro describes The Source as being: just another way to promote albums and stereotypes than to reveal the truth and urge their predominantly black audience to pursue more positive paths.
(5) MTV joined in this phenomena when they introduced Yo MTV Raps, a program that aired rap videos and promoted the hip-hop movement. It proved to be one of their top rated shows. (Sexton 230) White suburbia was being introduced to hip-hop. By the nineteen nineties hip-hop had hit mainstream. MC Hammer came out to the pop-culture with “Cant Touch This.” And by the end of 1990, hip-hop sales exceeded $100 million. (Robinson) There were now white rappers like Marky Mark, and Hersh 4 Vanilla Ice that were huge hits on the pop-charts.(Nelson, Gonzales 268) Even 14 year old groups like Kris Kross were being marketed through the music industry.
(Robinson) Hip-hop was characterized by catchy hooks and dressed-up rappers, the opposite of what it once was meant to be. (Ro 3) Movies and Television were affected by this new culture and the economic reality involved with hip-hip was very clear. Hip-hop jumped into living rooms. Hip-hops bubble gum rapper, Will Smith, (who is known for not using any kind of foul language in his music) was signed to star in the television show ” The Fresh Prince of Bel-Air” which debuted on NBC, and is now in syndication. (Robinson) Kid n Play, a well-known rap duo, appeared on the silver screen with Houseparty, which grossed over $20 million at the box office.( Nelson, Gonzales 124) Rap artists quickly turned into actors in movies like Boyz in the Hood and New Jack City, glorifying the street life of gangstas. Making soundtracks to go along with the films, as Tupac Shakur did for Juice (a movie in which he starred), proved to be economically beneficial.(Robinson) The industry started to reach out to more markets of demographics.
Rapper Vanilla Ice appeared in the much anticipated sequel to the popular childrens film Teenage Mutant Ninja Turtles. Loud Records chairman Steven Mind says that: Rap has become more universal and sophisticated. Its not just for one audience anymore. And acts like Jay-Z, TLC, and Lauryn Hill have taken it to that net level without leaving their base-the streets.(Mitchell) Hersh 5 The title track of Jay-Zs 1998 album Hard Knock Life Vol.II played over pop radio stations nation-wide. Jay-Zs music is mostly about his conflicts with other “gangstas.” For the most part his lyrics are about possessions.
He is known to be very specific on what kind of car he drives, what watch he wears, and so on. (Mitchell) Jay-Zs 52 city tour was the first tour like it in music history. He sold over 600,000 tickets, selling-out concerts across the country.(Robinson) Sean “Puffy” Combs has performed his tribute to the late Notorious B.I.G, “Ill Be Missing You,” on Nickelodeons Kids Choice Awards, along with MTV Music Awards. He was reaching out to two completely different audiences, with the same music.(Robinson) Sean “Puff Daddy” Combs, head of Bad Boy entertainment, has branched out to advertise for such names as Calvin Klein, Coke, Pepsi, Nike, and Tommy Hilfiger. He thinks that its inspirational to the kids, because they want what they see on TV; that because they believe in brands, their making choices as a group.
There are some positive aspects involved. Puffy claims that he is trying to reject “ethnic” labels, that the youth of America has no color, so that its all colors. (McCarthy 1) Most hip-hop groups say that they believe that pushing products does not make them a”sellout” to their music or to listeners. Advertising for companies is considered almost a trophy to the hip-hop world. Run D.M.C was “proud” of its deal with Coca-Cola; for them it meant that they had made it. (McCarthy 1).
Once hip-hop started sampling, taking old beats and mixing them with new lyrics, to become a part of the mainstream pop-culture, it wasnt about the positive influence over the youth of today. Hip-hop just became another way to market to all ages, a way to Hersh 6 start new trends. It has exposed children to violence, sex and drugs before they are old enough to understand their real consequences. Hip-hop has definitely become a part of American society today. It has glorified violence, the use of drugs, and has twisted the image of money to all its diverse audiences. Bibliography Gonzales, Michael, and Havelock Nelson. Bring The Noise.
New York: Harmony Books, 1991. Margolis, Lynn. ” Hip-hop gives voice to Urban culture.” Christian Science Monitor. UMI-Proquest. 11 Feb. 2000.
McCarthy, Michael. ” Hip-hop moguls, admakers rap Music titans flex marketing muscle.” USA TODAY. UMI- Proquest. 21 Dec.1999. Mitchell, Gail.
“Rap and Hip-Hop: What it is.” Billboard. UMI- Proquest. 4 Dec. 1999 Perkins, William Eric. Droppin’ Science. Philadelphia: Temple UP, 1996.
Ro, Ronin. Gangsta. New York: St. Martin’s Press, 1996. Robinson, Ruth Adkins. “Rap and Hip-Hop: Hip-Hop History.” Billboard.
UMI- Proquest. 4 Dec. 1999. Sexton, Adam. Rap on Rap.
New York: Dell Publishing, 1995.