IT’S A RAP!
MARIAH HANNA WILLIE HAMMONDS M
CHANCE THE RAPPER AYUN BASSA Dom Kennedy FAMEOU$
MARIAH HANNA WILLIE HAMMONDS
RELATIONSHIP WITH HIP-HOP
COMMERCE INS HIP-HOP DID THEY SELL OUT?
R&Bully HOMOPHOBIA & MISOGYNY
SPOT LIGHT EDITION
Table of Contents Cover Stories:
Relationship With Hip-‐Hop
Commerce in Hip-‐Hop
14 Ayun Bassa
13 Dom Kennedy
answers on 33
Expression. Story Telling. An Escape. A Culture. Unique. A Testimony. Inspirational. These are only a few words that I think describe hip-hop. Busta Rhymes once said “hip-hop reflects the truth, and the problem is that hip-hop exposes a lot of the negative truth society tries to conceal. It’s a platform where we could offer information, but it’s also an escape.” Music has always been a part of my life, but hip hop didn’t become a factor until I was in Elementary school. My family always listened to soft rock or country but once I got around other students and was able to experience things more for myself, not what was on the radio as I went to school in the morning, I was able to get a taste of the hip hop world. As a child, hip hop allowed me to be a little different from my family; in a way, it was my way of being a rebel. My philosophy back then was “My dad hates it, so it must be cool.” but as I sit and really try to write about my relationship with hip hop, I realize so many other things attracted me to the hip hop culture. It was always more than me rebelling. My first experiences that I can remember about hip hop were my hip hop dance classes. I viewed the music as tough, cool, and fun. At my first hip hop dance recital, we danced to “Take Me there” by Mya featuring Blackstreet, better known as the theme song to Rugrats the Movie. I
remember we wore baggy red overalls and red bandanas on our heads. I’ve also taken tap and ballet classes but this was the first class I can recall that had expression, emotion, and substance. The outfits made a statement as well as the moves. My hip hop class was the beginning to my relationship with hip hop. Another stepping-stone in my relationship with hip hop was “Yeah” by Usher featuring Lil Jon and Ludacris. I can perfectly
remember the first time it caught my attention. I was standing at the park right next to my school with my best friends, they were always so good at remembering lyrics to every song, and they kept singing Ludacris’ verse. My friends knew his verse better than they knew their last names, the energy and enjoyment they had while rapping these words, being white girls and all, was exciting. It made me want to learn the words and share a part of their enjoyment, this was when I really began to enjoy other music than just the music I grew up listening to. It was a real turning point for me.
MY RELATIONSHIP WITH HIP-HOP
I would have to classify myself in my early years as a band-wagoner. I liked hip hop but I did not explore it. By exploring hip hop, I mean prior to this I listened to nothing but mainstream, whatever was the hottest song on the radio was most likely my favorite. I did not look to see who had the most recent mixtape or wh ich rapper was going to be on top next. I was a band-wagoner I liked what the mainstream media taught me to like. Although that’s who I was, I am proud to say that is not who I am now. As I’ve gotten older I’ve been able to find hip hop that relates more to me and my own opinions, I rarely even listen to the radio anymore. Of course when I’m getting hyped for a party or about to hit the club, Tyga, Too Short, or some 2 Chains may be heard from my speakers. But usually I have something with more substance blasting through my speakers. I am interested in the newest artist. I do look forward to seeing when my favorite artist is dropping a new mixtape. My favorite artist at the moment is Kendrick Lamar. I was a Kendrick Lamar fan when he was still K – dot. I strongly think that if people who are very closed minded toward hip hop would listen to his music, and I mean really listen to what he has to say, they would realize that not every rapper is into the gold chains, “the big booty bitches”, and slapping “hoes”. Some rappers really utilize their talent for good reasons. They have something to say that needs to be heard. Kendrick Lamar is not innocent of never falling into the stereotype of what rappers are portrayed as, but the morals that he stands for and the foundation behind his words do have a
strong and deep message. There are still rappers who talk about pertinent things, and real issues. You can hear the passion in their voices. On “Look out for Detox” or “The Heart pt.2” by Kendrick Lamar you can hear t he emotion behind his words, and you begin to see that he is dedicated to his craft as well as his message. I am still a very versatile listener; the only thing I will not listen to is hard metal rock. So I hear a wide range of songs from all different genres of music. Hip hop and rappers have taught me the most about people, cultures, and actual issues going on in the world today. Jay – Z raps about how being a young black man caused him to go through the struggles of racial profiling. He taught me that cops need a warrant to legally search my car, or anything else for that matter. Asher Roth sings about the election of 2008, and how change was needed. The lyrics in the song “Change Gonna Come” were some of the most intellectual lyrics I’ve heard in any song, not just any rap song. That song alone made me think about issues that America was facing during the time in an in – depth way that only rap songs get my mind flowing. Yes, during the 2008 presidential election everyone was making songs about it, but rappers go about it in a different way. Country singers usually sing about being proud to be an American while not acknowledging issues that Americans face. Rappers don’t hide from the issues they have with society. They rap about them and face them, when there’s an issue you can bet there is a rap song about it. In other genres of music, it is more common to hear simple lyrics that tell stories, some true and some fictional. Rappers paint an image that rivals reality with nothing more than
their words and a beat. The majority of them, or the good ones at least, use intellectual metaphors that are astonishing at times. Hearing the metaphors draw the image in my mind is actually one of my favorite things about hip hop. Most people like to say that people connect with music that they can relate to. I find that false. There are plenty of rap songs that discuss the struggles of gang banging or life on the streets. I still enjoy this music although I have never lived in the ghettos the rappers speak of and I am not a minority so I do not face the same problems as the rappers. Although I have not experienced the things mentioned in some of the lyrics, hip hop is still my favorite genre of music. Happy, sad, mad, or bored, I still will choose a hip hop song to listen to. Hip hop plays a different role in my life too, it is not just music to me. The attire. Although I do have a wide range of different styles I like to choose out of my closet, my favorites have to be what classifies as street wear. So I’m talking about my beanies, my camouflage cargos, and my Jordans. I just began being more comfortable with wearing these clothes because I decided not to care what people say. The majority of the time I get the comment from school peers or coworkers, “Mariah you not black!” But now I’ve come to the conclusion it’s my way of expressing myself, which is that what hip hop is all about anyway. People like to generalize hip-hop to only African Americans. I enjoy proving people wrong, hip hop is for everyone. Hip hop is a culture. Hip hop is a form of expression. I found my way to express myself through the music in my speakers or through the clothes I wear. Many artists found their voice through hip hop. Hip hop became a world and a community that people were able to associate with and express themselves. In my life hip hop
has played its role of letting me see something different than what I was always familiar with. It shows the struggles, issues, and truth of what happens in urban communities. To me it shows real people, not just these made up artist that the media creates. Hip hop is an art, a culture, a voice, a beat, and a sound. It should be heard and respected by everyone.
Chance the Rapper Chance the Rapper Age: 20 Hometown: Chicago, Illinois Website: www.ChanceRaps.com Chance the rapper is a young artist with a versatile flow and subject matter who’s on the brink of becoming a bonafide hip hop star in his own right. Born Chancellor Bennett, the young man from Chicago first came into the public eye with his debut mixtape #10Day in 2012. The mixtape getting its namesake from the fact that it was recorded during a 10 day suspension from high school. Yes, high school. Not only is young Chance more ambitious than most rappers on the come up, but he’s also more verbally potent. The soulful sound Chance has is complimented by his choice in beats. #10Day opens with a heavily
Kee ears p your o Cha pen for nc Ra p e t h e per!
instrumental song called 14,400 Minutes in which Chance says, “No tassle in the spring but in the summer I’m alumni!’” poking fun at the fact that he did not graduate high school. In his most recent mixtape Acid Rap, and better mixtape in my opinion, he opens with Good A** Intro where he pokes more fun at not graduating saying, “Did a ton a drugs and did better than all my alma mater!” You can hear the growth in Chance’s sound from #10Day to Acid Rap, he’s moreintrospective and musically adventurous. He also has a collaboration with Chicago legend and at one point the fastest rapper on the planet, Twista. Chance takes a lot of his style from another Chicago native, Mr. Kanye West. You can hear it, his soulful/jazzy choice of beats, the sing – song nature of most of his songs, the reality he puts into his rhymes, it’s all Kanye West. The difference between Kanye and Chance is that Chance is still in those Chicago, or Chiraq as Chance often calls it, so you can still get the gist of what is happening right now in Chicago through his lyrics. There is an unnamed second song on Pusha Man feat. Nate Fox and Lili K where Chance solemnly says, “They murkin’ kids, they murder kids here. Why you think they don’t talk about it?” it gets even better after that but if I told you, you probably wouldn’t listen to it yourself
The now well known case in which R&B singer Chris Brown was charged with felony assault among other things for the altercation between he and his then girlfriend, R&B singer Rihanna. The surfacing of this event brought a lot of attention to domestic violence and for good 1 in 4 American women will experience domestic reasons. violence in their lifetime. Most of these women will After this event, the experience it between the ages of 20 and 24. R&B topic was open for singer Rihanna was 21 when it happened to her. discussion for everyone. What intrigued me about it all were people’s reactions, especially over time. Of course who beats her for whatever the invalid reason we vilified Chris Brown immediately upon may be. hearing the news but watching us forgive him and defend him is where a problem lies that I feel is Due to the grand role Hip Hop now plays in the overlooked. life of today’s youth and the unrealistically high pedestal Chris Brown has been placed upon by his Society is misogynistic. We knew that. But fans, young women have drastically different mainstream Hip Hop takes this misogyny to views of domestic violence. Granted, some do see another level. Although both Rihanna and Chris it as bad, but some see it as normal. I remember Brown are R&B singers, they are often mixed up speaking with my then twelve year old sister in the Hip Hop world. In her book “Pimps Up, Hos about the incident, “She must have hit him first!” Down” T. Denean Sharpley – Whiting describes was the first thing she said. She is sixteen now, Hip Hop’s relationship with women in great these days she badmouths Rihanna. Calling detail, particularly when she says women “were Rihanna promiscuous in much more colorful ways either ‘hot pussy for sale’” or “pussy for the although her favorite singer does the same thing taking.” (Whiting, 4) Rihanna, superstar pop Fast forward three years, Chris Brown is out and princess or not, is still a woman, therefore in Hip about at one of New York’s best clubs. He was Hop, she is still beneath any man. Even the man rubbing elbows with the likes of rapper Drake and NBA player Tony Parker. There was an altercation
between Drake and Chris Brown where multiple injuries occurred due to glass bottles being thrown. The altercation has since escalated with the two young men being very vocal about their dissatisfaction with one another. Drake stated, “Stop preying on his [Chris Brown] insecurities man, his insecurities are the fact that I make better music than him, that I’m more poppin’ than him, and at one point in life…the woman that he loves fell into my lap…” on a radio interview in retaliation to Chris Brown saying “And if you started from the bottom then come out the closet!” on his verse in the remix to Young Jeezy’s smash hit R.I.P. Drake’s single for his new album Nothing Was the Same is called Started From the Bottom. The overt retaliation of the usually subtle Drake shows another group among on the bottom steps of hip hop’s hierarchy, the LBGT community. Of all the things that have been said about Drake, albeit by lesser-‐known personalities, Drake responds so outwardly toward Chris Brown referring to him as gay. This is the accepted way to act toward the LBGT community in the Hip Hop world. Recently, R&B singer Frank Ocean came out as being bisexual on July 4, 2012 to a great reaction from some of the biggest names in music. Not just in Hip Hop and R&B. This serves a great moment in Hip Hop history, to see the likes of Nas and Jay – Z congratulating a bisexual man for not hiding his sexuality.
Of course, the R & Bully couldn’t hold himself back. He and Frank Ocean had an altercation in front of a studio in LA earlier this year. The details are not really known, but the fact is the altercation did occur. Chris Brown seems to have gotten lost on the same path the media leads our youth down through their control of what we see. Hip Hop is not violent, hip hop is a culture. A way to express oneself and let others know of the struggles their people deal with on a daily basis. It is not about disrespect, putting down women, or people of a sexual orientation that you may not consider normal. By doing these things, Chris Brown is feeding his millions of fans the same corruption the media wants to feed them.
https://www.facebook.com/pages/Fameou/ 476595439031287?fref=ts @schemeEnt. Scheme ENT or Fameous
Fameou$ From Scheme Ent.
My fix was the first mixed tape that Scheme Ent. Released and as the name implies it is majority about smoking weed and kicking it the homies. The mixed tape has other aspiring rappers back in his circle of friends. The second mixed tape release was mixed tape was Mixed Vibes. Although had the same vibe they talked about who they are instead of only discussing the extra circular activity of smoking. But as well as more reality type feel.
Name: Anthony Urquhart Age: 23 From: North Hollywood Fameou$ first music name started of as Fame. Fuck All My Enemies. Once he got together with his cousin name Jr. aka Yg Bandit, the started a group together called Scheme Ent. He grew up in North Hollywood and moved with family to Canyon Country. Due to the hardships in his life as a young boy Anthony used Hip Hop as a form of art and expression. Fameou$ and his partner at the mic, Yg Bandit have two mixed tapes out; My Fix and Mixed Vibes. Anthony being the prime writer. Vito Antonio produces the creative and enjoyable beats.
Fameou$ roll models in the music industry are Curren$y, the entire group of TDE and Fabulous.
By Willie D. Hammonds III
The Impact of Hip Hop: An Autobiography We all think we know ourselves better than anyone else when, in reality, we do not properly define ourselves until we come across someone or something that allows us to see ourselves in a different light. We all have that one person or thing that came into our lives and changed the way we saw it forever, that is special to us in more ways than we can count, and that has left an impact on us that lasts for an eternity. That thing for me was music. However, I had not gained the love for hip-hop that I have today. Even though all of the music I was around growing up in the ‘90s and early ‘00s was Hip Hop, I was stuck on alternative rock and punk rock. I have a lot of cousins both older and younger; the one I was around most of the time was Tiffanie. Tiffanie is about three and a half years older than me, four school years, and went to private school. So while with her, I would hear all the things thirteen year old girls who went to a predominately white private school would listen to. Backstreet Boys, N*Sync, ‘90s R&B, Brittney Spears, Christina Aguilera, Blink 182, the list goes on unfortunately. Luckily for me, Tiffanie’s mother took her out of private school in ninth grade so that Tiffanie could attend the high school her mother graduated from. The school was called Lynwood High and once Tiffanie went there, I began to hang out there and her taste in music began to change very quickly which of course caused mine to change. From that point forward, I began to look at music in a different light. I already knew hip-hop, but I had no idea about the culture.
My infatuation with hip-hop did not start until about fifth grade. My father was part of a rap duo in the mid to late ‘80s and then started his own record label in the ‘90s. While I was always around the industry, I was never interested in it. I would find myself hanging around my father’s lawyers and accountants more than his artists and producers. I picked fifth grade because fifth grade is when I began to create music using the equipment in my father’s studio. I made beats using drum pads, learned to set tempos, learned my way around the studio a bit, wrote a little for his artists, and even recorded a few vocals for his artists’ tracks. After that a friend and I started a rap group called Lil Soldiers. My rapping name was Chillz and I began rapping with all of theother local kids. I began listening to more hip-hop, including Kanye West who taught me about style. From that point on, I was a different person. I idolized Kanye West and began to experiment with a plethora of different hip-hop artists with different styles. Like Lupe Fiasco I eventually found my place in the underground and alternative hip hop scene. By the time I was in middle school, I learned every word to every verse I had ever heard Kanye perform. I got my hands on my first
iPod in seventh grade, a 256mb iPod shuffle. I loaded it up with my favorite songs, most of which were Hyphy songs as that movement was in full swing during that time. My style would also change a lot with my music and not purposely. Looking back on it all, I feel like my music was one of the main things I used to define me at that time. I was not a very good student, I was not able to participate in any organized sports, and I liked to exclude myself from the crowd. In high school is where I picked up on the aforementioned alternative hip-hop. It all started with Gym Class Heroes.I followed them while they were underground up until about their second commercial album. I loved their sound and style, spending most of my childhood in Paramount and Compton only taught me to listen to hard rap music. We were into Smack! TV battles and the Beef DVDs. We loved 50 Cent’s hard persona, The Game’s defiance, Mike Jones’ hood looks, Keak Da Sneak’s vulgar yet clever lyrics, and of course all of the old school gangster rap from the early ‘90s that blasted out of Chevy Tahoes. But I moved to the suburbs in Palmdale with my father in the middle of ninth grade and picked up skateboarding as a hobby. All of my alternative rock came back; I was caught up in the image of what a skater was supposed to be and not being myself. Going back to Gym Class Heroes, they were the first alternative hip hop group I started listening to while skating. After them came The Beastie Boys, I had a whole mix of alternative hip-hop that kept me going while skating. I loved it. All I needed was my iPod, my
skateboard, and black headphones and I was set. A year later I moved back to my mother’s house in Paramount but I kept the same style I picked up from Palmdale. Skinny jeans, tight T-shirts, and Nike SB 6.0’s. None of my old friends understood it, and when I started introducing them to alternative sounds they laughed in my face. Then it all blew up. By the time high school hit, the underground basically became the mainstream for high school aged kids and the industry flipped. My dad hated the hip-hop game and turned his focus toward the entertainment side of the industry. He always complained about my generation not buying albums. It never occurred to him that a new wave had hit. That wave was the Internet. Once the Internet got over MySpace, added Twitter and Facebook, and rappers got a hold of it. The game changed forever. There were relatively unknown rappers gaining major recognition from fans who were not buying their music but spending money on concert tickets, T-shirts, clothes like the rappers and much more. The fan bases of these new breeds of rappers were very diverse. Those new rappers I’m talking about are Drake, Wale, Wiz Khalifa, Big Sean, J. Cole, and Kendrick Lamar [You can get their mixtapes at http://www.datpiff.com if you're interested.] Those rappers are arguably on top of the game right now and in my opinion have classic mixtapes that I would choose over most peoples’ albums. Once they broke onto the scene, they took over. They used sampling to sample songs that weren’t heard of. They rapped better verses than my favorite rapper. Then my favorite rapper went back to the roots of hip hop in order to stay relevant, which worked well for him. That's neither here nor happy hip hop has come hope it keeps moving in this direction. I feel like the consumer is becoming a little more powerful and a little more conscious, at least that's where I'm at with my relationship with hip hop.
there, I'm this far and I
AYUN BASSA Ayun Bass is a conscious rapper . He has the capability to create detailed images with a simple metaphor. Ayun got involved in music because that what was always around him. As a young boy Dashawn was always intesested in lyrics and instrumentals. His brother and a lot of his friends rapped n their spare time it was something he picked up with over time during freestyle battles. His music role models are Jay-‐Z, Pharrel, Mj, Nas, Eryka Badu, Mos Def, Lauryn Hill and the list goes on. Ayun Bassa has no particular goals he want to reach with his music he just wants to beard. He wants to travel the World and perform his own music. He has something to say he want be to be willing to listen. And whats to rap about things other people can also relate to. To him he feels like his music means life. He already has 250 songs made, and many more in the making.
When asked what does music mean to you he replied “Music is freedom to be creaice and basically say how you feel at that particular time or you felt. It’s a great way to say where I’m at ro what kind of mood I’m in by the type of music I’m playing.”
“ I fe e bad l like m just y try t music o ke m ep r ea n s l e i mys al conc fe. Good el e p ts o ~Ay and r un B f.” be assa
Name: Ayun “Dashawn” Cassell Age:23 Home: New Jersey, now lives in Santa Clarita
What’s A Sellout? Hip hop has come a long way from DJ Kool Herc’s Jamaican inspired sound system and DJ equipment, anyone who has been alive since the ‘70s can see that, but has it changed for the better? Hip Hop is a living, breathing art, community, and form of self-expression, however, it is plagued with backdoor deals because of its extreme popularity in a rapidly changing entertainment industry. Hip Hop reaches millions of ears in and out of the US, where it began. Because of this, corporations see it as an opportunity to sell and promote their products. Most Hip Hop fans refer to an artist as a “sell – out” once that artist has lost their voice to the demands of outside forces, however, artists can sell – out in other more sinister ways. The first thing people must learn is that most artists are not always allowing themselves ortheir art, which I believe the artists respect supremely,
to be manipulated by anyone but their fans. Artists need fans, without fans, a Hip Hop artist cannot be successful. This is also false. In order to find success, one must define his or her own success. Most fans do not know these artists personally; they do not know what the artist has defined as success. One artist may see success as money while another may see it as getting his or her message off of their streets and onto everyone else’s. With that being said, we cannot blame the artists1for Hip Hop’s hegemonic culture. Although the Hip Hop hegemony is very real, it is not what the average consumer believes it is. One cannot mention hegemony without mentioning politics; politics are often discussed in Hip Hop but not the politics that go on within Hip Hop. In Rhyme Pays, a documentary focusing on the culture versus commerce debate in Hip Hop, a marketing executive is shown
meeting with a record label executive to discuss when a certain artist’s album will be released. The discussion gets worse for a true fan of Hip Hop, the marketing executive goes on to state that he can ask for an album to be released at a more convenient time. While it is okay for an artist to write a song about a product he or she may use often or be very fond of, it is not okay for a company to pay that artist to endorse their product without saying they are paying the artist to do so. The fans of the modern day Hip Hop artist come from all different backgrounds and age groups, while this makes the artist a perfect spokesperson for a company, it also means that children are being unfairly treated. Sadly, this is what the capitalist society has forced Hip Hop to succumb to. Capitalism started the culture versus commerce debate the minute it got involved in Hip Hop. The very first commercial Hip Hop song was Rapper’s Delight by The Sugarhill Gang, they were also created in a studio in order to sell records. Shortly after their commercial success, DJs began to go the commercial route also. In chapter 7 of Can’t Stop, Won’t Stop Grand Master Flash talks about leaving the streets to go DJ in clubs because that’s where the money was. It was either DJ at the club or DJ for free. If DJing is your primary source of income, the club is where you had to do it. Since commercialization took over Hip Hop, it has been in a continuous downward spiral and stifling the creativity of some of its greatest minds. The best example of that is J. Cole. J. Cole is a rapper from the poor city of Fayetteville, North Carolina. I began listening to him in 2010. He had mixtapes that spoke of the troubles he had as a young man and the troubles he saw his fellow young men go through. Of course there was a flash of misogyny, it’s America, it’s always there. Note that Hip Hop is only misogynistic because the society it comes from is that way. Fayetteville is that way,
therefore J. Cole is that way and not by choice. He would have to choose not to be that way due to society’s stronghold on the upbringing of poverty – stricken, young males. Racism was also something that J. Cole frequently spoke of, I always found that strange due to J. Cole being biracial with a white mother and black father. When he speaks of racism, he speaks of it from the view of the black male although his white mother raised him. J. Cole was signed to Roc Nation by the time I began listening to him but his mixtapes did not sound like anything a label had their hands in. There were not too many commercial Hip Hop elements in his songs, all of his songs were intellectual. It sounded as if he was speaking neighborhood and all neighborhoods like it, but not glorifying the terrible things that plague it which is what I feel most popular rappers do. Then his album came out. With an album, especially a debut album, commercial songs must be made or else it will not sell well. The commercial single on J. Cole’s album was called Work Out. It featured a sample from Kanye West’s song Kanye’s New Workout Plan and a simple flow that J. Cole was not known for. The music video for Work Out by J. Cole is typical of a commercial Hip Hop video at first glance. Upon further review, advertising and stereotypes can be seen. The biggest advertisement in the video is by Hennessy. The special edition bottle is seen in the end of the video multiple times with the label facing the camera. There are two female leads, both skimpily clad in short clothes baring all of their cleavage. The women prance around a basketball court where all of the African American men, including J. Cole, spend most of their time. After J. Cole and company leave the basketball court, they are seen at a party with even more skimpily clad females who are drinking the aforementioned Hennessy bottle.
The biggest problems in the music videos are not the focus of the video. First off, J. Cole endorses the objectification of women. The whole song is about getting women to “workout” for him. All he does during the entire video is sit around and do nothing, then go to a party. Children could see the video and easily become influenced by the fictional happy lifestyle J. Cole has created although a little research shows that his life was not nearly as easy. The video also endorses drinking, heavy drinking. The party scene at the end of the music video is flooded with red cups and a woman drinking Hennessy’s special edition cognac bottle right from the bottle. These are not the images we need our young women seeing. The only thing giving away that Hennessy may have signed a deal with Roc Nation to appear in the video is that the giant logos on J. Cole’s tshirt are blurred, but the giant logos on the Hennessy bottles were given camera time sans the rapper who should be the star of the short video. All in all, culture versus commerce is a huge debate that should continue because it is very important. There will always be money hungry record labels, but like Salaam said in the Aesthetics of Rap article, indie labels need every song they create to sell nicely in order to stay afloat. Humungous multimedia companies are
able to put out low quality work, thus saturating the market with terrible images and music in order to keep the very group that publicizes the entertainment in psychological chains. The people see and hear what the corporations who own the record labels and airwaves want them to see and hear. J. Cole recently released a short mixtape called Truly Yours in which he goes back to his roots and ditches the commercial feel he had in Workout. However, this mixtape was not nearly as far spread as his album. This is done on purpose in order to keep fans of commercial Hip Hop under the impression that Hip Hop is nothing more than minorities doing things that minorities do. Not letting artists release their best and most meaningful music commercially is downright disrespectful to those men and women who put their heart and souls into this art form during the late ‘70s and early ‘80s. Everything Hip Hop represents is undermined by labels, artists, and unsuspecting fans worrying more about making money, or glorifying the gross amounts of money the artists are claiming to have attained, than making art. Art should be appreciated, not used as a pawn to control the pockets of the people.
Kendrick Lamar is from Compton, California. That is one of the first things this skillful rapper lets you know about him in most of his first mixtapes. Aside from that, you learn about the struggles and triumphs of Kendrick and his peers. Listening to Kendrick Lamar rap is like listening to the streets of Compton personified. He twists words, phrases, and sometimes even entire songs into metaphors ripe with devices that rival your favorite poets. Kendrick’s latest work can be heard on his debut album Good Kid, M.A.A.D. City. The album flows smoothly from the first track to the last, sometimes even fitting multiple songs on the same track without sacrificing quality. His tongue twisting rhymes come at blistering speeds while still managing to make a point. Afrika Bambaataa believes the fifth element to hip hop is knowledge (the first four being the MC, the b – boy/b – girl, graffiti, and most importantly, the DJ.) Kendrick Lamar puts knowledge into the majority of his music.
Age: 25 Hometown: Compton, California
His album opens with a prayer from the mouths of the unnamed young
men who will be the focus of the album, “Lord god, I come to you a sinner, and I humbly repent for my sins…” then the album throws you headfirst into a story about young love and mischief in Compton. Kendrick introduces Sherane in Sherane a.k.a. Master Splinter’s Daughter, Sherane is from Paramount, Ca. A city on the border of Compton. Kendrick falls for Sherane rather quickly and the story intensifies from there. Kendrick treats the listener to dialogue in the dialects he was raised listening to, open – ended explanations as to why young men who grew up with the circumstances Kendrick experienced act the way they do, and an impeccable ear for commercial bangers like Poetic Justice and B*tch Don’t Kill My Vibe. The highlight of the album was the overall sound of it; for me, it was a commercial album with an unprecedented amount of influence from the artist. Aside from the very last song on the album, it sounds like Kendrick. That could be because of his overwhelming presence on a microphone or because of the brilliance of Dr. Dre and his Aftermath imprint, but it is definitely apparent and appreciated.
Drake If you don始t know who Drake is by now then you must have been under a rock since 2009 when the young Canadian actor exploded onto the hip hop scene after a few mi. Drake has delivered hit after hit since his rise to fame and doesn始t seem to be looking to slow down. With his most recent barrage of singles, features, and remixes, Drake shows off the versatility needed by a rapper to stay
Age: 26 Hometown: Toronto, Canada
on top in today始s unforgiving industry. With more rappers getting exposure on VH1 than MTV and BET, it始s nice to see a rapper still making a living off of his craft and not letting money change it. Drake is on his way to dropping his third studio Album Nothing was the Same to much anticipation thanks to the aforementioned string of music. The first song to build hype for the album, mostly because of its EXTREMELY catchy
hook, was Started From the Bottom. The song was an instant hit, spawning remixes from big names like Wiz Khalifa and Soulja Boy the same day it released. It is essentially an anthem that was echoed among his peers. After Started From the Bottom was released, 5AM in Toronto came as the second punch in a three piece that rivals your favorite boxerʼs.
5AM in Toronto sounds like a sequel to 9AM in Dallas, a song released before his first album in the same fashion. 5AM in Toronto is a ballsy track coming from a personality known more for crooning over lost love than taking stabs, shots, and bites out of the competition. “The part I love most is they need me more than they hate me, so they never take shots, I got everybody on safety.” Drake says within the first twenty seconds of the song to show you the road this verbal beat-down was headed down. Before the first minute of the song of the three minute song is up, Drake admits, “[I] Give these ni**as the look, the verse, and even the hook. Thatʼs why every song sound like Drake featurinʼ Drake!” Drake was just featured on Snoop Lionʼs single No Guns Allowed and DJ Khaledʼs No New Friends, I wonder how they feel about Drakeʼs newfound toughness? For the knockout punch, Drake took it back to the crooning that caused him to crossover from underground phenomenon to Grammy winning pop star with his song Girls Love Beyonce. Drake samples Destinyʼs Childʼs classic Say My Name and basically makes a male version of it. An insecure Drake opens softly saying, “Look I know girls love Beyonce, girls love to f**k with your conscience, girls hate when ni**as go missinʼ, and shorty you ainʼt no different.” and goes on in a very familiar fashion for the rest of the song. By the end of the song, Drake admits to searching for a woman to settle down with. The reason the song is so great is because Drake continually makes this song, over and over, yet somehow, we never get tired of it.
R.I.P CAPITAL STEEZ AKA
Janelle Monae “I try not to get too caught up in who I am,”
Hip Hop is a way of life that developed in the early
1970s in the Bronx borough of New York City. It was an escape for the youth and way of expressing themselves during hard times. Hip Hop is identified as an African American cultural phenomenon that has swept the nation and other parts of the world. By the ‘90s hip hop has changed from what it originally was. Primarily it has Djs, b-‐boys and b-‐girls, graffiti artists, and MCs. By the ‘90s the rapper, or MC, was the focal point. Record labels began to realize the money that could be made so they began signing the artists willing to sign a deal. This began the commerce of hip hop. From this emerged the notation that what many people say is the death of true hip hop. Hip Hop identifies primarily with the street culture and is strongly affiliated with the urban experience. The urban appeal has been able to withstand the test of time and is still a basic element of the Hip Hop culture. When money became an issue, hip hop got divided into mainstream and indie music, which is more
commonly known as underground hip hop. When record labels began trying to record Hip Hop, it was first a turn off to many MCs and Djs. Grandmaster Flash, a very popular Dj of the time, was wanted by all the independent Black record producers but he was very persistent in not giving them the time of day. He felt that as long as he had his weekly gigs, he was content with the things remaining the same. It was hard to comprehend for some, how can you put hip hop on a record? Chuck D said “I’m like, record? Fuck, how you gon’ put hip hop on a record? ‘Cause it was a whole gig, you know? How you gon’ put three hours on the record?” In 1979, Rappers Delight came out and changed that idea Chuck D continued to say “Bam! They made ‘Rapper’s Delight.’ And the ironic twist is not how long that record was, but how short it was. I’m thinking, ‘Man, they cut that shit down to fifteen minutes?’ It was a miracle.”(Can’t Stop. Won’t Stop page 130). Hip Hop became something that they can twist and turn into a revenue. Once money gets involved into anything, the risk of losing the true culture and true elements of that thing becomes a real
controversy. Once commerce becomes major issue in any industry, huge debates tend to spawn from it. One of those debates within Hip Hop is whether or not an artist is becoming a sell out. The idea of “selling out” gets commonly thrown around within the music industry. The idea that once an artist makes it “big” or becomes popular they must have sold out is becoming a commonly known idea. When hip hop became commercialized around the mid ‘80s, industries want to get their hands in hip hop’s listeners' pockets. “After several years of ignoring hip hop, corporate executives suddenly recognized its growing appeal and widening audience base, leading to new commercial enterprises that simultaneously boosted its profile and challenged aspects of artistic authenticity.”( asjournal.org) This was the spark that ignited the flame that changed hip hop. Commercialism became an antagonist to the original Djs. Djs, who were the a main element in hip hop became a background and rappers became the only true component. “When the top Bronx acts made their recording debuts after ‘Rapper’s Delight,’ they usually tried, and often failed, to be true to the experience of their shows.” (Can’t Stop Won’t Stop, 132). The artist of Rapper’s Delight were no name amateurs. They never had a Dj, it was a studio creation, they never were on stage until after the song became a hit. These artist were writing music with “ears of the fans.” People began writing what they knew would sell, what was popular in the clubs, and it became less about what it used to be about, as in an art, and way of expressing themselves, and more into what ever sells. An emphasis on partying, leisure, materialism, and relationships began to become a common pattern to of topics written about in hip hop.
Hip Hop was developed with many different elements. As mention before there was the Djs, the MCs, b-‐boys and b-‐girls, and the graffiti artist. Everything within the culture took the back seat because music, the beats, the lyrics were able to make a profit. They were able to be bought and sold. Music has a huge influence on what is seen as popular. The documentary, Rhyme Pays: Hip Hop and the Marketing of Cool, shows numerous examples of making hip hop into a product. It showed what was the hottest shoe or clothes. It showed how Run-‐DMC’s intentions for the song “My Adidas” were innocent, they made the song because of their true love for the shoe, not for the profit. The film showed the evolution of how corporations witness the impact hip hop has on the population, and so other artist got endorsement deals. 50 Cent got an endorsement deal with Reebok making his G-‐Unit shoes. In the documentary, they were featured as the newest and coolest, a must have. The development of “gangsta rap” in the 1980s was a landmark in hip hop. Gangsta rap identified with urban criminal activities. Gangsta rap, to this day, is highly criticized for its glorification of a materialistic, criminal lifestyle. Yvonne Bynoe wrote “The record companies encourage these young people to tell their ghetto tales (real or imagined) in the crudest fashion for predominantly White rap CD buyers [...]. What the music industry had done through rap music is to frame the ‘authentic’ Black American not as a complex, educated or even creative individual, but as a ‘real nigga’ who had ducked bullets, worked a triple beam, and done at least on bid in prison.” Gangsta rap opened the gates to or heightened the precept of stereotypical African American in the urban city. With gangsta rap involvement artist began to focus on who is the toughest rapper, who has the most street credibility. A positive and captivating aspect about Hip Hop was that is demonstrated serious social issues and became a way to express the negative conditions that impacted the African American population. Record labels often neglect to recognize the political aspect of “conscious rap”. They claim it is unsuitable for commercial interest. “In the 1980 and early 1990s major record labels were often resistant to signing explicitly politicized acts, suggesting that either the subject matter was too narrowly concerned with
black cultural issues and risked alienating the much Nice Watch, and Can’t Get Enough people accused him larger white consumer market or voicing concern that of rapping about songs that had no substance. The the incendiary lyrics of conscious political rap acts rumors of J. Cole selling out became wide spread. might draw the ire of conservative cultural watchdogs Although I am a fan of the album, the evidence does or politicians and jeopardize the label’s reputation.” persuade me toward believing J. Cole is becoming a (asjournal.org). An example of this is when MC Paris sell out. J. Cole himself says “Either you play the game was dropped from Tommy Boy Records in 1992 or let the game play you, and be the broke muthafucka because of his album Sleeping With the Enemy. In this talkin’ ‘bout ‘I stay true!’". So has he played the game album the content was about the assassination of or has the game played him? President George H. Bush, who In the music video Can’t Get Enough, it is was the president at the time. shown as J. Cole and Trey Songs rapping Another example is Ice T ”Either you play the on a Tropical setting. The part that was criticism from the president and captured on the boat and at the bonfire game or let the game the vice president on this track were just women in bathing suits “Cop Killer.” The pressure that play you, and be the dancing with liquor and nice jewelry. Ice T got from the record label This is where people felt like J. Cole broke muthafucka led to Ice T removing the track became a sell out, his hit songs were from subsequent pressings of the talkin’ ‘bout ‘I stay about the women and how he just could album. These are only two not get enough. The song itself is true!’" example out of many that shows properly structured. The flow was good, the effect the mainstream ~J.Cole the beats are on point, and although the American has on the status quo music video fit the song properly, the of what should be listened to and song is not was J. Cole states that he awakens a highly controversial represents i n h is mixtapes, where he amassed his first debate.
The that major record labels would not play music based upon the controversy that may come about is the another aspect of what leads to becoming a sell out. If an artist who is primarily conscious hip hop but the record labels are saying that what the rapper is talking about is too controversial, then how can they make it big without conforming to what the label wants to hear. The idea of selling out has a mixtures of definitions. The most commonly used definition is when an artist compromises their art for finical gain. Selling out always raises the question, in such a competitive industry how does one make it to the mainstream, while teetering on the fine line of becoming a label sell out? A popular artist who is being accused as a sell is Jermaine Lamarr Cole, or more commonly known by his stage name J. Cole. His most recent album released on September 27, 2011 named Cole World: The Sideline Story raised plenty of speculation of J. Cole becoming a sell out. They previously perceived J. Cole rapped about “real” stuff. His fan base looked up to him because they felt that he rapped about deep stuff, and things that related to him. When J. Cole released songs like Work Out, Mr.
fanbase. The message within the video, I believe is to have a good time, partying, and live life to the fullest. This video objectifies women, because the whole role that women play in the song is they are out for J. Cole fame and lifestyle. Or as T. Denean Sharpley -‐ Whiting would say, the women are using J. Cole’s and Trey Songs’ object -‐ craving attitudes against them. Either way it is a terrible look for the commercial hip hop community in mainstream media. This
song connects to male primarily goal of getting the max number of women. This song empowers men to think in a hyper -‐ amsculinity outlook towards women. In J. Cole’s song the hyper-‐masculinity message is subtle compared to other artist within the Hip Hop industry, but it is a silent message. I say that it is silent because he does not come straight out and insult women or degrade them by calling women outside of their name, but address the degrading of women through the images used within the video. Hip Hop is known for its way of being a form of expression. To this day people use hip hop to tell a story, address issues, or to express oneself. In the early ‘80s when hip hop became a product to sell the morals and the messages behind what was being said shifted. Labels only allowed what would sell to be released. Money corrupted what true hip hop was. In present times hip hop artists are skiing on a slippery slope of what is selling out and what is still real. When, or if, people make it big they are accused of selling out. If music is art, why do corporations and other influences have such a major say on what is on the radio? Today’s radio has eighteen songs in rotation thus aggressively “playing them out.” The majority of these songs are attempting to sell something, whether is embedded within the video or the lyrics. Hip Hop was unique, it was different, it was fun with a little competitive side. People in today’s world have changed the game in hip hop. Hip hop is seen as a way to make money, instead of the thing it initially was all about, the fifth element, knowledge. Commerce has taken over the music industry, artists and fans alike need to fight for it back.
Joey Bad Ass The golden era of hip hop is coming back thanks to eighteen year old Joey Bada$$ and his Pro Era collective. Born in 1995, Joey skillfully raps about serious topics over bass - heavy beats with his deep voice and New York accent. Joey exploded onto the scene last summer with his debut mixtape 1999, it starts with a introspective rap about his journey up until this point. The first song on the tape is called Summer Knights and begins with “Itʼs been a minute, since they seen a style with no gimmicks...” is the first thing we hear Joey say, big words from the kid. Listen to the rest of the mixtape and youʼll see that Joey is not the only person on the east coast trying to revive that golden sound hip hop had in the ʻ90s, he is a part of a hip hop collective called Pro Era. Of all the features Joey includes from his Pro Era artists, the best verse in my opinion comes from Capital STEEZ on a song called Survival Tactics. The beat is perfect for the hardcore personas the two young men have. The song is laced with conspiracy theories, rants about going against the
government and police, and even scientific similes “ʻCause PE about to take off, with protons and electrons ni**a thatʼs an A Bomb!” 1999 ends with an eleven minute Pro Era anthem named Suspect. This really solidifies them as a hip hop collective to pay attention to. On December 21, 2012 Pro Era released their second mixtape, the first one they received attention for, titled P.E.E.P.: The aPROcalypse. The mixtape is solid and lets listeners know that Joey Bada$$ is not alone in his youth, style, and skill. Most notably were CJ Fly, Capital STEEZ, and Kirk Knight. The mixtape opens with Capital STEEZ and a piano then does not slow down from there. There are cyphers, great DJs, MCs, and an original feel. Unfortunately for us, Capital STEEZ passed away from a self - inflicted injury on December 24, 2012. He was nineteen years old. We will not be able to see that young man mature into the person he would have been. The full details of the story have yet to be made public but members of the Pro Era collective have made comments in interviews and via twitter. Capital
STEEZ was Joeyʼs best friend and in my opinion, the person he collaborated with that brought out the best in his words. Luckily for us, Capital STEEZʼs untimely passing did not slow down Joey Bada$$ or Pro Era. Theyʼve gone on multiple tours and are prepping another mixtape along with Joey
Bada$$ʼ debut album. In the meantime, Joey Bada$$ can be heard on songs sponsored by Ecko Red and on A$AP Rockyʼs album LONG.LIVE.A$AP.
Hip Hop Trivia
“Greetings girl and welcome to my world of phase. I’m right up to bat. It’s a Daisy age and you’re about to walk top stage. So wipe your Lottos on the mat. Hip hop love this is and don’t mind when I quiz your involvements before the sun. But clear your court ‘cause this is a one man sport. And who’s better for this than…” what lyrics are these? a. “Fun House”-‐Kid N’ Play b. “Eye Know”-‐ De La Soul c.
“Children Story”-‐ Slick Rick
d. “Poet With Soul”-‐ Def Jef 2.
Which two rappers had a large “beef” that some say lead to bother their deaths? ______________________________________________________________________________________________
3. What well know rap group started out their career doing a song called “Cookiepuss’? ______________________________________________________________________________________________ 4. Who were the members of the Original Sugar Hill Gang? ______________________________________________________________________________________________ ______________________________________________________________________________________________ ______________________________________________________________________________________________ 5. What well known organization did Hip Hop pioneer Africa Bambaata start in the mid 70s..? a. The Universal Zulu Nation b. Run DMC c.
d. G-‐Unit 6. Who hosted the first party that introduced the Bronx to Hip hop? _____________________________________________________________________________________________ 7. What are 2 of the elements of Hip Hop? _____________________________________________________________________________________________ ______________________________________________________________________________________________ 8. What does LL Cool J name stand for? _____________________________________________________________________________________________ 9. Queen Latifah had a song called Ladies First…Who was the other female rapper on that song? _________________________________________ 10. Who have sold the most Rap albums in the United States? ________________________________________
Contact Vito Antonio for beats Facebook: https://www.facebook.com/LeftyDidIt.VitoAntonio Or http://www.soundcloud.com/leftydidit
http://www.itsmyurls.com/drok http://www.youtube.com/user/drokthe menace
1. A 2. Tupac and Biggie 3. The Beastie Boys 4. Wonder Mike, Master G, Big Band Hank 5. A 6. Kool Herc 7. B-‐Boys (girls), Mc, graffiti artist, Djs 8. Ladies love Cool James 9. Monie Love 10. Tupac
Dom Kennedy Dom Kennedy is an underground recording artist from Leimert Park, Los Angels, Ca. He is known for his very simple lyrics, smooth sound and flow, and for rapping over slower beats than the average rapper. He first came onto the scene with his debut album 25th Hour in 2008, since then he始s released six more mixtapes [Including Young Nation which is actually an OpM mixtape] and an album called From the Westside With Love II. He is currently working on his next album titled Get Home Safe due out this spring, considering spring is almost over, we should get our hands on that work very
soon. Dom Kennedy has also had his hands more on the business side of the underground hip hop industry, starting his own record label The Other People始s Money Company, Inc. The name of the company is usually shortened to The OpM Company or simply OpM. Young Nation was the first mixtape released through Dom始s label, Get Home Safe should be the second. If you listen to most the work Dom has done up until this point, you can say that he found his trademark sound on the mixtape From the Westside with Love. Since that mixtape,
not much about the man has changed. Dom Kennedy is the sound of the west coast, his music sounds like a trip to the beach and in some cases, a trip down the wrong street in the wrong colors. He has worked with plenty of artists in LAʼs underground as well as other underground artists from different areas. You can hear Domʼs laid back style of rapping on Kendrick Lamarʼs mixtapes, Big Seanʼs Iʼm Out Here, Overdozʼs mixtapes, Dom has even worked with Kid Cudi before he was a household name. The biggest question surrounding Domʼs long and consistent underground hip hop career is when the big hit will occur. He claims he will be underground forever in his music and so far has kept that promise, even while showing up on BETʼs Hip Hop Awards in a cypher and making big appearances at music festivals such as Paid Dues and Rock the Bells. TO SELL OUT OR NOT TO SELL OUT This is a problem most artists face, but what is a sell out? Is selling out a bad thing? A short film by The Canadian Broadcasting Company called Rhyme Pays highlights this issue. Before we can get into that type of discussion, we must define what a sell out is considering many people have many different opinions.Rhyme Pays opens up a new world of trouble for artists and labels because it shows a strategist looking to plug in his advertising into rap songs. This happens constantly in the entertainment industry but is seen as taboo in the hip hop world because of hip hopʼs roots, Damon Dash mentions this toward the end of the documentary but seems to think people look down on it because its hip hop and everyone has a problem with hip hop. I do not agree
with him. Hip hop started in the South Bronx as a form of expression and eventually evolved into a culture, stretched across America, then across the world, now its an empire that makes plenty of people plenty of money. Before hip hop was business, it was a way to get your words out. Words about opression, neglect from those who are supposed to protect, the struggle of growing up in neighborhoods where you have to pay more attention to the streets than your schoolbooks, and even some party music. This is why there is such a conflict between hip hop fans and hip hop business men, the business man does not care what happens to the artist or the consumer as long as he or she gets their pockets lined with cash. They will shamelessly connect their product, no matter how good or bad it may be, to a popular song and watch money roll in from the unaware consumers affected by their undercover commercial. This has been happening in movies, television shows, and radio forever. It never occurred in hip hop because hip hop just recently became a big enough venue to promote things on. The difference is hip hop was rebelling against those very promoters, hip hop was never intended to be grabbed by businessmen and turned into a capitalistic institution like everything else. Hip hop was pure and has become corrupted by money. These days, it seems like money is the motive. Rappers rap about money over annoyingly catchy beats. No one cares about dignity anymore, at least thatʼs how it seems considering every time I turn on the TV or radio someone is acting out and someone else is enjoying it. That is what I believe selling out is, compromising your art
for your money. A prime example of this is Lupe Fiasco始s twitter account. Lupe Fiasco, as you may know, turned away from making money and began to use hip hop as a pulpit. Letting listeners (and followers via twitter) about his favorite philosophers, philosophies, and how he feels about Chicago始s failing political and societal issues. On Monday, May 13, 2013, Lupe始s team announce via Lupe始s twitter that he no longer has control over it and from now on it will be used solely to promote his music. His music. Not his philosophy, not his views on anything with substance, only his music. His music is how they make money. Lupe Fiasco has been forced to sell out. This is why hip hop needs to stay as uncommercial as it possibly can although I fear it may already be too late.
Chang, Jeff. Can't Stop, Won't Stop: A History of the Hip-hop Generation. New York: St. Martin's, 2005. Print.This book examines hip hop's origin and includes accounts from hip hop's pioneers. "Chris Brown Freestyles over Drake's "Started From the Bottom"" YouTube. YouTube, 01 Apr. 2013. Web. 15 May 2013. <http:// www.youtube.com/watch?v=vQdL6XROV90>.Interview of Chris Brown by Sway where Chris Brown disses Drake. "The Crosby Press." The Crosby Press. N.p., n.d. Web. 15 May 2013. <http://www.thecrosbypress.com/2013/02/27/kendrick-lamar-reprises- poetic-justicesnl-performance-on-david-letterman/>.Kendrick Lamar performs his hit Poetic Justice and receives a warm welcome from a diverse audience. "Drake Freestyles For ‘GQ’." Music News Reviews and Gossip on Idolatorcom RSS. N.p., n.d. Web. 15 May 2013. <http://idolator.com/ 6225521/drake-freestyles-forgq>.Drake did a freestyle for GQ that highlights culture versus commerce and the luxury rap we are all used to. "Drake Takes Shots at Chris Brown"The Woman He Loves Fell into My Lap, I Treated Her with Respect)." YouTube. YouTube, 13 Apr. 2013. Web. 15 May 2013. <http://www.youtube.com/watch?v=xbwz9pPIPk>.Interview of Drake where he addresses the statements Chris Brown made about him in a prior interview. "The Gray Way." The Gray Way. N.p., n.d. Web. 15 May 2013. <http://
www.thegrayway.net/post/8956392555/j-coles-work-out-visual-is- finallyunveiled>.This article included opinions about J. Cole's Workout music video. "KENDRICK LAMAR HITS THE BOOTH WITH DR. DRE AND ANDRE 3000 [@KENDRICKLAMAR @OFFICIALANDRE3K @DRDRE]." Link Up TV. N.p., n.d. Web. 15 May 2013. <http:// linkuptv.co.uk/kendrick-lamar-hits-the-booth-with-dr-dre-andandre-3000-kendricklamar-officialandre3k-drdre/>.An article highlighting Kendrick's rise to fame and working with hip hop legends. N.p., n.d. Web.Website we used to find the majority of the images used in this magazine. "Rhyme Pays." Rhyme Pays. Canadian Broadcasting Company. N.d. Television.A documentary highlighting the culture versus commerce conflict hip hop has experienced over the last few years. Sharpley-Whiting, T. Denean. Pimps Up, Ho's Down:
Hip Hop's Hold on Young Black Women. New York: New York UP, 2007. Print.This book examines the relationship the hip hop industry has with the female population and the misconstrued image of black women the media/hip hop puts into the world. Forman, Murray. "American Studies Journal." - Conscious Hip-Hop, Change, and the Obama Era. N.p., 2010. Web. 03 Apr. 2013. Hunter, Margaret. "Shake It, Baby, Shake It: Consumption and the New Gender Relation in Hip Hop." Sociological Perspectives 54.1 (2011): 15-36. Web. 2 Apr. 2013. <http://www.jstor.org/stable/10.1525/sop.2011.54.1.15 .>. "J. Cole - Can't Get Enough (Clean Version) Ft. Trey Songz." YouTube. YouTube, n.d. Web. 04 Apr. 2013. Rhyming Pays: Hip-hop and Marketing of Cool. Dir. Canadian Broadcasting Corporation. 2004. Youtube. Salaam, Mtume. "The Aesthetics of Rap." African Amerian Review 29.2 (1995): 303-15. Web. 2 Apr. 2013. <e URL: http://www.jstor.org/stable/3042309>.