Ogbar and Jeffery (pp 1) describe “Hip Hop” as one of the styles used by artist to sing. The style can also be defined as a culture due to the influence it has. Ogbar and Jeffery (pp 2) continue to argue that hip hop began in the 1970s in New York at a place called South Bronx. Dj Kool Herc is believed to be the founder of the new style of music. He used to rap while mixing during his parties. The hip hop culture continued growing and by the 1980s it had its own uniqueness. The common cultures associated with hip hop were graffiti, emceeing, break dancing and deejying. Hip hop culture has also social impacts. The language mostly used is slang and has been adopted by the current generation. The media can also be praised for spreading the culture. However, the hip hop culture has received a lot of criticism. Some people believe that hip hop is dead. They blame the current artist and trends for killing it. This is contrary to Ogbar and Jeffery (pp 15) argument that the National Geographic consider hip hop as a culture. They are five main reasons why hip hop is dead according to them. These are the internet, law and order, no balance in rap, too much music, and collaborations.
According to J-zone (par, 6) hip hop artist can no longer sing or “ride” solo. An artist looks for comfort in teams, crew beefs, collaboration, big name guest, or movements. This is to help them get shows or fame easily. J-zone (par, 7) argues that “Down with the kings”, Run DMC album and Da Youngstas album “Da Aftermath” were the beginning of this “cancer”. Nowadays an artist needs 10 produces and 7 guest artist to have a platinum album. This is different from the past where rap albums had a maximum of 3 producers and 3 guest artists. J-zone (par, 7) believes that this action has made the album to loss its purpose. Rappers focus more on the music quantity and not quality. It is no longer about talent but which crew or movement you belong to. However, the artist try justifying their actions by saying it brings them together. They say it helps them cross pollinate the fan base they have.
The internet is one of the biggest mediums that have helped hip hop culture grow as argued by Nelson and George (pp 24). Although this is true, J-zone (par 18) argues that it is also the other “murderer” of hip hop. Artist used to work hard in the business and the reward or privilege was having your record played. Currently everybody can post their songs on the net. This does not help the artist stand out as everyone is almost equal. The artists hire people to hack your profile and post their songs. Every great moment in an artist is when the fans are anxious to hear their new song or album. The internet has killed this anticipation; albums are leaked 2 or 3 months before they are released. The authorities follow people who share the music instead of the person who leaked the album. Rap has also lost its sense as people post threatening messages or get hurt because of e-beefs (J-zone par, 19).
In referring to Ogbar and Jeffery (pp 45), hip hop artist are known for their quality music. Big artist like Ice Cube, Scarface, and EPMD used to release an album every year. This was considered a great achievement during that time. The new artists are under pressure to be relevant as much as possible. The fans might forget you if you do not have 5 mix tapes, 2 albums and over 9 appearances in a year. The pressure has cheapened hip hop as people rush to produce songs. Mix tapes have been turned to albums all for the sake of survival. The artist has a 2 week window for 16 months of work as suggested by Mr. Watts of Da Beatminerz. The mix tapes that were a vehicle that help the rap music grow are been misused and are killing it. Furthermore, this does not mean that some hip hop artist cannot produce good songs and fast (J-zone, 11).
The lack of balance in hip hop has made it to die according to J-zone (par, 12). Rappers no longer produce music that has humor. Some artist used to do it as a hobby. Majority artists do it for money and even some do it for fame. Artists also do not try to change their styles. In the “golden era” they used to be political artist, battle mc’s and killer thugs. The different type of artist had their own unique style of humor. The “gangster” mentally has taken over and all artists want to be feared. Although artist chose the style they want, producers can also be blamed. They fear breaking some of the rules since they want to be taken seriously (J-zone par, 13). They never switch their skills or beats to show their other side of producing. Hip hop is supposed to be fun and help the artist avoid everyday stress. J zone concludes by stating that without this balance rap is dead.
Law and order in hip hop was established to help the industry grow. They protected artist work and made sure their interest was always first as argued by Nelson and George (pp 59). According to J-zone (par 14), hip hop is based on illegality and not malice. Many rappers do it to stay out of crime but the authorities might be pushing them back. A Dj can get sued for remixing a song and selling it as a mix tape. Although this is not good, the artist and Dj need each other in the industry. That’s why artist and record labels have been allowing deejays to remix their songs. MySpace has been shutting down or warning any users who post a remix. The amazing fact is these songs came with acapellas. This brings the question, what are acapellas for? The things an artist consider trash can be a source of revenue for another person. Producers used to remix popular songs to get fame or discover new talent. The current law considers this “mugging” and hence artist and record are suffering as nobody is buying their music (J-zone par, 16).
J-zone (par, 18) concludes that the death of hip hop might be a good thing. It may give birth to a new, bigger, and better style. Artist should break and rebuild the hip hop culture by going back to the roots.
Works cited:
J-zone. 5 Things That Killed Hip Hop. Web. February 20 2007. Web
Nelson, George (2005). Hip-Hop America (2nd Ed.). St. Louis, Missouri, Penguin books.
Ogbar, Jeffery O.G (2007). Hip-Hop Revolution: The Culture and Politics of Rap. Kansans. University of Kansans Press.
