On Hip-Hop & Consumerism

Public Enemy's Fear of a Black Planet. NWA's Straight Outta Compton. 2 Live Crew's As Nasty As They Wanna Be. Ice-T's Rhyme Pays. What do these albums have in common? Besides being four of the more iconic works in hip-hop because of their critical impact, they were all heavily chided by the mainstream media at the time, citing their profane language, overt sexual and violent references, and general disdain for anything pure and wholesome. One could argue that the impetus for these themes is of the 'product of their environment' school of thought. Regardless, these albums came out in the late 1980's, a period in which hip-hop was beginning to take hold not only on the charts, but in the mind's eye of American society.

One need look no further than the inception of the Parental Advisory sticker to see their impact. Tipper Gore's defense of family values (whatever that means) led to the now-ubiquitous brand placed on a hefty chunk of hip-hop music deemed too raunchy for most ears. Yet and still, hip-hop music continues to thrive. The four albums I listed above, while also critical successes, were respective chart-toppers. One couldn't go anywhere without hearing the praises of Ice-T or Ice Cube or Dr. Dre emblazoned in a negative light. Yet today, if one walks into a Wal-Mart, flips on Law and Order, or watches 'Are We There Yet', the same once-nefarious hoodlums are now peddling wares to the same (give or take) America that once cowered at the mere recitation of their lyrics.

Why is that? Has the world softened its view on hip-hop in the face of consumerism, or have these gangsters softened their images for the sake of staying relevant/making a profit? It used to be that if a rapper was placed in the same sentence as a consumer brand, that brand's stock would drop faster than a DJ Khaled record. Look at Tommy Hilfiger, which was once a staple of Americana and the boat shoe crowd. Many dubbed Snoop Dogg's donning of a Hilfiger Rugby on a 1994 Saturday Night Live episode as a cheapening of the brand, yet by 1995 Hilfiger was the Menswear Designer of the Year. Hip-hop was gaining the power to make things 'cool'. Look at products such as Clarks' Wallabees, Timberland Boots, Nike Air Force Ones, adidas Shelltoes, all of which were popularized by rappers. While the mainstream media may have taken longer to catch on, their buzz was a by-product of rappers simply wearing them or using them in songs.

These wouldn't have gone down 10-15 years ago:







Fast forward to this decade, and instead of hip-hop making products pop, products of hip-hop are popping. It's not clothing anymore, either. Gone are the days when MCs aspired to be fashion designers. Rappers are making forays into everything from liquor with Ludacris' Conjure to headphones with Beats by Dre; equestrian stables and Nike commercials with Rick Ross to corporate raiding with Diddy. Hip-hop, while still a form of music, is a business; an all-encompassing media giant capable of moving markets and making trends. Swizz Beatz for Reebok and Kanye West for Nike and Louis Vuitton have designed their own sneakers. Eminem is essentially the face of Chrysler, lending his wildly popular 'Lose Yourself' to the Detroit automaker. Jay-Z and Nelly are a part owner of basketball teams. Where in the 80s and 90s these happenings would be something out of the Twilight Zone, hip-hop's mainstream success has allowed for monetary power in the hands of its purveyors.

What does this mean for hip-hop, though? While it is great for exposure and letting Middle America know that rappers are indeed human and capable of selling more than their music, is it cheapening the cult of hip-hop? My answer is no. Hip-hop has always been steeped in consumerism, and even moreso in the American Dream. To quote the immortal Big L "to be seen clean in the mean Beem (BMW) is every teen's dream". Almost every rapper has made a song about overcoming rampant poverty and lack of funds to be able to afford a lavish and expensive lifestyle. Yes, they want to tell their story and reach the masses with their unique perspectives, but money is always a motivation. Maybe they sell themselves short to get to that ends more quickly, but the goal is not and was never to be a starving artist forever (as much as Charles Hamilton's crackpipe says differently).

Consumerism, while vilified because everyone hates Christmas shopping and greed, is as American as hip-hop is. And hip-hop, while once the nightmare of America, has proven its staying and selling power. Who knows what kind of commercials, endorsements and product lines we could be seeing in the next decade of hip-hop. Silicon Valley? Clean energy? Hell, the same Uncle Luke that was arrested for lewdness on numerous occasions is now running for public office in Miami-Dade County. It's amazing how hip-hop can expand across numerous avenues of media and run the gamut as far as those avenues may go. Does that mean that America is now hip-hop friendly? Not by any stretch of the imagination. One need look no further than Bill O'Reilly's outstanding vendetta with Common to see that. However, as long as there are kids bumping Drake in Beats by Dre headphones while wearing Air Yeezys drinking Vitamin Water, hip-hop is and will continue to be a focal point in consumerism. *buys more shit*

Dear Rick Ross (re: Bugatti Boyz)

Quick!! Without thinking, who was the last solo artist to go platinum with Diddy and his Bad Boy Records? If you said Biggie, try again. If you said Ma$e, you're still wrong. What about Black Rob, Cassie (*uncontrollable laughter*), Mario Winans or Carl Thomas? Still wrong. If you answered none other than Atlanta's own Yung Joc, then (*bells and whistles*) you are correct. Ironically, none of these artists, including the ones that cam after Joc are in any state of popularity in hip-hop. As you look down the roster of artists that Bad Boy has taken on, it's hard to find anyone sans Biggie, Faith Evans, Ma$e and 112 (all of whom were in the same era) who were able to levy their success to anything not Diddy-related.

The Complete Bad Boy Graveyard Family (and their last known wherabouts):
- The Notorious BIG (deceased)
- The LOX (removed from Bad Boy; now called D-Block to moderate success and have since reconciled with Diddy)
- Craig Mack (unknown)
- G-Dep (somewhere sucking a crackpipe)
- Ma$e (deciding between church and state)
- Shyne (now an orthodox Jew)
- Elephant Man (deported to Jamaica)
- Cheri Denis (unknown)
- Faith Evans (at a Weight Watchers near you)
- Mario Winans (I don't want to know)
- Da Band (defunct; now a punchline)
- 8-Ball and MJG (making music under different label imprint)
- Cassie (on MediaTakeout's first page)
- Boyz in Da Hood (defunct; Jeezy saw the light before it was too late)
- Gorilla Zoe (still on Bad Boy; buzz still is non-existant)
- Danity Kane (defunct; Dawn: now Dirty Money, Aubrey: now lesbian)
- Day 26 (defunct)
- Red Cafe (still on Bad Boy; album still pending)
- Dirty Money (now Diddy-Dirty Money; appear as backup singers on "Last Train to Paris")
- Janelle Monae (recently signed to Bad Boy; 1st album on label released)

Now, that list is by no means exhaustive. I state this fact to illustrate one point, and one alone: Signing up to work with Diddy is the equivalent of putting a (very close) expiration date on your career. Every artist that isn't dead, doing music on their own, or in another facet of show business is now a page in hip-hop obscurity. That said, Ricky Rozay, you look like you will be the first artist EVER to break the Biggie-Bad Boy Curse.

Ross, it's no secret that your larger-than-life persona is a complete fabrication. We've known this fact since 50 Cent went on one of his trademark offensives. Even so, you've been able to counteract these lies with what would be a very good career in hip-hop, by most standards. Four albums, a hefty amount of street anthems, and a number of legal run-ins after your 'Port of Miami' debut has had your pockets looking as obese as you are. With the way hip-hop is becoming more and more minimalist on an underground level, it's refreshing to see that you're thriving economically (or so you would like us to believe). That said, this new 'Bugatti Boys' initiative with Diddy looks like you're going to be doing a lot of the writing footwork, regardless of the fact that Diddy's name will be all over it.

When you first began working with Diddy, the parallels between yourself and Biggie were undeniable from a physical standpoint: two fat SOBs who can rap really well about being drug pushers, street violence and lavish lifestyles. On the surface it's almost as if Diddy struck the lotto twice. However, when looking more closely at you, Ross, it's easy to see why Diddy needs you more than you need him.

Diddy had nothing before he had the Notorious BIG, and even Biggie he had to push into stardom. Biggie never wanted to be a crossover hit. When looking at the albums he was alive for (not the ones Diddy muffed up), the Notorious BIG can be split into two personas: the older, Don Dada-esque Mafioso persona on songs like 'Warning' and 'One More Chance (Remix)' and the younger, gritty, damn near sadistic, Biggie on tracks like 'Gimme the Loot'. Diddy had to convince Big numerous times that the latter of those two was not conducive to selling, even if hardcore hip-hop fans supported the effort. In your case, Ross, you already have the backing of most hip-hoppers, who, even though they throw salt on your name because of the C.O. situation, acknowledge your prowess and presence on the mic. As your career has grown so has your well-constructed 'Bawse' persona. You didn't need Diddy to cultivate your radio-friendly side because you already were on the radio.

The endeavor you're embarking on with Diddy should be nothing more than a fun activity to pass the time between your next album. Any other affiliation with the artist formerly known as Puffy should be strictly personal, not professional (you saw what happened to Cassie). Additionally, it's clear that at this point in his musical career, Diddy is looking for nothing more than a crutch with which to promote himself. To work with P. Diddy, all you have to do is be hot at that moment and remotely marketable. You, Ricky, fit that standard perfectly, and Diddy has hooked you in.

What separates you from all of the artists I listed above is the fact that you already have an established career. Perhaps it's not as illustrious, or impervious to criticism as is Puffy's, but you certainly can put a case together for being in a better position than he. Whether its the extremely tight Miami circle of DJ Khaled, Trina and company, or any other affiliations you have, you can fall back without fear of losing your buzz. Not Diddy. Sean Combs is a spotlight hog

SIDENOTE:This letter is no judgment on Diddy as a person. Although some of his business practices are on the unethical side, his prowess for finding opportunity is ridiculous. Ross just happens to be next on that list.

who sadly, needs to be featured with someone else to be recognized in hip-hop. In all seriousness, when was the last time you saw a song that just had Diddy? No features, no 'and the Family'... Just Diddy? The fact that you're going to make music 'with' him is proof in and of itself. You'll be fine afterward, though. As long as you don't make Bugatti Boyz more than a passing fancy, you should remain the Bawse, and not another Bad Boy Family member that never makes it to the reunion...

P.S.: Clearly Jay Electronica's signing to Roc Nation didn't rub Diddy the wrong way. Just shows how quick he is to associate with someone when they're hot.

Jay Electronica - The Ghost of Christopher Wallace (ft. Diddy)

As an artist, saying 'CHEESE' with Diddy are some famous last words...


Jay Electronica - The Ghost of Christopher Wallace (ft. Diddy)

I can't honestly say that I commend Jay Elec's pick of Puff Daddy P. Diddy Puffy as a hip-hop affiliate, but you can't knock the man for getting a good co-sign. That co-sign also happens to come with the permission to say the name of the late, great Notorious BIG (think about it; no one writes songs about or concerning him). 'The Ghost of Christopher Wallace' is a lyrical journey through hip-hop of the last 15 years. Jay tells the rap world to stop trying to compare everyone to Biggie and work on their own damn raps, which I can't agree with any more wholeheartedly. Of course you've got Diddy in the background with the finest of ad-libs (only he can claim that), and the beat kinda grows on you. Check out what's hopefully the start of a beautiful friendship business partnership. RIP to every other artist that Diddy has ever laid eyes on...

RIP The Notorious B.I.G.

It goes without saying that Biggie Smalls was a rapper ahead of his time and that his untimely death is one of the biggest losses in hip-hop. That said, the legacy he would have left had he lived is greater than most people could even imagine. B.I.G.'s death, along with other high-profile hip-hop deaths, caused a ripple effect throughout hip-hop. This is best seen in this rare footage (just released today) of Biggie and the rest of the circa-1995 Bad Boy Records roster. Take a look at that video and count how many of the artists and personalities, aside from Diddy, are still in the business today. I counted Lil' Kim, and that's really it. Biggie's death essentially sealed the fate of all of those artists, as Bad Boy had no headliner to bring their other acts up. The same can be said for deceased artists like Big L, Eazy E and Big Pun, though no one will ever truly know what their deaths did to hip-hop. I suppose it's just wishful thinking, but Biggie's potential is worth every second. All we can say today is RIP to Christopher Wallace...

Dear Diddy

Diddy, Diddy, Diddy, you've long been the culprit of my ire because of your ridiculous penchant for being overly flashy, but this takes the cake (birthday puns haha). Honestly, I've never seen such an unneeded showing of wealth as when I turned on the TV and watched you shower your son with gifts for his 16th birthday. Though, I cant't deny that I would give my children at least one birthday blow out each, there is a limit. There are entirely too many things wrong with they way you're doing this whole parenting thing.

First of all, why in God's name would you ever bless a 16-year-old, who hasn't driven a day in his life, a $400,000 Maybach?!?! It's not like he's got pressing business to attend to on his way to high school, using the wireless. It's not as if he has to have a glass of Ace of Spades on his way to soccer practice. Hell, the Maybach came with a driver! What really was the point?!?! Second of all, what is the deal with all of the conspicuous consumption? What kind of parenting manual were you reading, that told you stuffing a stack full of $20 bills into your child's pocket was the way to show your children love? When you do that, you're basically shouting to the kid in Ebonics: MONEY CAN BUY YOU HAPPINESS!. Also, you're ensuring that your son will never want to do a hard day's work in his life. Third of all, why at the end of the party did you decide to donate $10,000 in Justin's name? That's unbelievable! The car you bought that kid could have fed an entire village, so to make up for it, you shaved off 10 stacks. I suppose when you're that rich and arrogant, helping out by signing your name is the least you can do in the face of overspending and inane celebrity appearances. Like I said, celebrating the triumphs and milestones of your children is a must. It's just when that in and of itself turns into *gasp* an MTV reality show...

Diddy lets Ma$e out of his contract

As much as I think Diddy is a conniving yet brilliant businessman who profits off of the idiocy of others, I have to admit that the man makes quality moments on film. From Making the Band to I Want to Work for Diddy, his persona makes for hilarious results on television. This instance, it happened to involve Ma$e (I don't know if I should have added the Murda) and his lifelong saga to leave the artist graveyard aka Bad Boy. They bring the cameras in, and the result is great video. Check it out...