Commercialization:
Articles and letters addressing the mainstream success of hip-hop would be coded for commercialization. I would code these articles for commercialization in order to see how the genre responds to the constant influx and infiltration of new fans as a result of the mainstream success the genre has continued to gain.
Culture:
Articles and letters dealing with culture, the scene, subculture, new fans, history, interviews, drugs, police, and other issues would be coded as Culture.
Internet:
Finally, articles regarding the Internet or online message boards were coded as Internet
Each interview would last around an hour and would be recorded with the interviewees’ permission, so long as it did not disrupt a casual and candid
Hip hop is now commercial, started by 1990s. He suggested that popularity is due to the sampling of well known songs.
James Mcbride the author of the essay, Hip Hop Planet, is an African American/ Jewish writer. The discussion of hip-hop became important to the author from the rise of its popularity. The audience can mainly pertain to the older generations of people and to persuade them to listen to hip-hop. Mcbride uses his own personal stories and extensive research of hip-hop to effectively convey to his audience how hip-hop has gotten more popular and how it affects the world around him.
Right now, Hip Hop began to move from what it was planned for, to being a shallow deals trick. Hip Hop was, at its initiation, a methods for African Americans recount their unaltered story. Towards the mid-'90s although, the class started to be much a greater number of offers than it was at any point was some time recently. Artists, for example, Nas for instance, started to stray from their honest to goodness and genuine selves to begin making music about drugs, brutality, and sex since that was what pushed their deals to the corporate level. With this
Hip-Hop proved to be successful as both a creative outlet for expressing the struggles of life amidst the prevailing crime and violence as well as an enjoyable and cheap form of entertainment.
Big Daddy Music Emporium is a retail music store located in the southwest area of Las Vegas. Big Daddy Music Emporium sells and rents assorted musical instruments, provides music lessons for people of all ages, and provides instrument repairs. Through agreements with local school band programs and other networking, Big Daddy Music Emporium will be the exclusive music store for the entire Southwest Las Vegas area. This should significantly increase sales, lessons, and repairs, as band directors refer parents and students to our store through student participation in their programs. We will exploit the weaknesses of our competitors by becoming highly involved within the community through sponsored local events in order to turn one-time shoppers into loyal, lifelong customers. Our unique marketing strategies include our exclusive "All Money Back" trade-in program, where customers can receive the full purchase price toward upgrading their instrument; along with our "Play and Pay" donation program, where our store pledges to donate a portion of instrument sales and rentals to local school music programs.
Over the years Hip Hops purpose, symbolism, and meaning have changed. The rap of this era possesses naïve optimism. The former impoverished and activists have become the innovators, the industrialist, and the great of a newly form industry. The notice of possibilities, the thought of opportunity spurred millions to action and instilled hope in their hearts and minds. Hip
The commercialization of hip hop has led to many changes in not just the genre of music but in the culture of marketing and youths around the states in addition to the rest of the world. But is this commercialization trend truly a bad for hip hop as an art. The music industry has always affected multiple aspects of life and know these hip hop and rap artist are capitalizing on the many endorsement that come with the uptrend of hip hop’s popularity around the world. Sarah Paolantonio’s. “Reasonable Doubt: Marketing Big Hip Hop." She states “it’s hard to imagine the world of exclusivity and pay-to-play that Jay is instituting. Instead of fighting the powers that be, Jay is working with them: giving Samsung money, advertisements and synergy with (one of if not) the biggest name in music.” (par.11) I disagree with her statement I believe that it is the artist right to be able to innovate new ways to earn more from their art because how they influence the market of product sales and other markets.
Since its conception, hip hop has been a very necessary and influential art form in the way that it gives a voice to people who would normally not have one. The fact that it was often the sole voice for a marginalized community meant that the genre has often shouldered the “burden of being a genuine political force.” Hip hop’s role in addressing the concerns of urban Black Americans has led people to refer to it as “CNN for Black people.” However, in recent times, the commercialization of the genre (and growing popularity with white audiences) has generated a lot of criticism from many who feel that the essence of hip hop is being destroyed and it does not have as much of a meaningful effect on dispossessed Black youth as it used to have.
Molefi Asante is the author of It’s Bigger than Hip-Hop: The Rise of the Post Hip-Hop Generation. In this article, Asante predicts that the post-hip-hop generation will embrace social justice issues including women’s rights, gay’s rights, and the anti-war movement. To challenge these stereotypes, Asante speaks to the personification of the African-American ghetto and the need to stop glorifying black suffering. For Asante, the post-hip-hop generation no longer expects hip-hop to mobilize disenfranchised youth. Asante states, “The post-hip-hop generation shouldn’t wait for mainstream musicians to say what needs to be said…No movement is about beats and rhythms…. it must be bigger than hip-hop.” Because hip-hop is controlled by corporations, Asante says hip-hop will never be the focus of political change. Asante argues that “old white men” have dictated hip-hop, and by extension the actions of black youth, since 1991. “Allowing white executives, not from the hip-hop culture, to control and dictate the culture is tragic because the music, and ultimately the culture, as we can see today, has not only lost its edge, but its sense of rebellion and black movement- the very principles upon which it was founded.” Asante calls for the rise of “artivism,” a new social movement that uses art to improve community police relations, failing schools and the criminal justice system. Asante encourages the post-hip-hop generation to unite with Latino/Immigration Rights and Black Civil Rights
Being one of the more controversial lifestyles, the hip-hop culture has overcome many obstacles in the years to gain the respect it currently holds today. Indeed, there is still much controversy that lingers around the people within the movement, but “when untainted by outside influences and corporate vultures, hip-hop in its purest form is about empowerment, unity, culture, creativity, and hope” (Elkouby). The negative notions that regard the hip-hop culture can be attributed to corporate America and its failure to properly monitor radio play, its lack of trust within the record labels, and its greedy head honchos that build up artists only to see them fall in order to pocket the money for themselves.
Harry Winston diamonds were no longer draped on the American Caucasian elite, but on wildly successful Hip-Hop artists such as Foxy Brown and Lil Kim, who came out from childhoods that were in sharp counterpoint to that of many Americans who affluence themselves in the higher strata, they rather were affluence now. The only one of many releases in which African Americans affluence themselves being able to join the upwardly mobile in America is the growth in
A special program was opened in Minnesota, the aim of this program was to teach all the roles in the hip-hop business, including that of promoter, rapper, and DJ. School think this is important and place it to worth 45 credits for students to learn. MSCM( McNally Smith College of Music) was the first in the nation to offer a hip-hop studies program that teaches students all the roles of the hip-hop business. The reason MSCM put this program so imprint was because they believe this urban culture worth series of study. Even the professionals in the hip-hop business say they could have used formal training when they were learning to rap. Students in MSCM loved this program, and say they relish the opportunity to learn from established DJs and
Hip Hop culture has come from a inner city expression of life to a multi-billion dollar business. At the beginning of the new millennium it was the top selling genre in the pop charts. It had influences not only on music, but on fashion, film, television, and print. In 2004 Hip Hop celebrated its 30th year anniversary. It wasn’t big for the fact that it was still kicking. It was big because the once Black/Brown inner city culture had grown into a multi-billion dollar global phenomenon (Reeves). Hip Hop culture has provided a platform for all walks of life to speak their mind. Over the past 36 years it has provided us with both entertainment and controversy alike and had a huge impact on our nation’s history. `
Hip- hop has become a phenomenon throughout youth culture. Many believed hip-hop was only a phase of music like disco, but as the genre continued to expand and evolve, it became clear that hip-hop was here to stay. (History of hip- hop: past, present, future) Hip- hop is made up of 2 main elements, DJing and rapping. DJ is short for disc jockey, which is a person who usually uses turntables to make music, and rapping is talking and chanting in an easy and familiar manner. (Hip-Hop: A Short History) In writing this research paper, I will explain the most impactful years of hip-hop, and the events surrounding them, starting from 1979, when Sugarhill Gang released “Rappers Delight”.
According to Merriam, et al. (2007) the formal settings of adult learning classrooms are generally characterized by adults sitting with an instructional approaches that includes a variety of methods from lectures to group collaboration. The physical layout of the classroom was much like many college classroom layouts. There were multiple long rows of tables facing the front. Students had ample room and space for technology such as computer space. Although the front of the classroom was setup with a large whiteboard and an interactive projector hung from the ceiling, most of the classroom instructional time was focused on students working in small groups. Additionally, the classroom was well maintained with lots of windows and spacious room for instruction and cooperative groups. There were ten students including, three males and seven females. There were also three white students and seven African American students. The students’ age ranged from early twenties to probably eto mid-fifties. My assumptions are based on the students’ interactions and stories with each other and the professor. This class met at 5:00 p.m. lasting one hour fifteen minutes and ending at 6:15 p.m. This class was one of ten face to face classes. As stated earlier, this course also included on-line module components.