The Hip Hop Culture
Essay Preview: The Hip Hop Culture
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Since the early to mid 90s, hip-hop has undergone changes that purists would consider degenerating to its culture. At the root of these changes is what has been called “commercial hip-hop”. Commercial hip-hop has deteriorated what so many emcees in the 80s tried to build- a culture of music, dance, creativity, and artistry that would give people not only something to bob their head to, but also an avenue to express themselves and deliver a positive message to their surroundings..
What does the term “commercial” mean? It can take on various meanings, but in essence that term is used to label artists who have alienated parts of the hip-hop culture in their work. The High and Mighty, a duo from Philadelphia signed to Rawkus Records, summed up what commercial hip-hop is in their 1999 single release “The Meaning”. Mr. Eon says: “theyre tryin to turn hip-hop to just plain rappin/let the poppers pop/and the breakers break”
But the disenchantment with artists who dont appreciate hip-hop as consisting of emceeing, breaking, graffiti art, beat boxing and dj-ing is not new. Underground artists, predominately hip-hop purists, have lashed out at biters and perpetrators for many years. For example, in 1989 3rd Bass released their first album, The Cactus Cee/D. Throughout the album, MC Serch and Prime Minister Pete Nice scold the commercialized booty shakers like MC Hammer for corrupting hip-hop, particularly on the track “The Gasface” they specifically call out Hammer for his antics.
Inside the album jacket, Serch sums up hip-hop in 89: “There was a time when nothing was more important than the New York Rap Scene.” Its dilluted, but not divided.” To hip-hop afficionados, Serchs quote sounds like the equivalent to a Vietnam soldiers letter home. Obviously, the group saw the possibility of the hip-hop culture being tainted.
Another good example of a group combatting the increase in commercial hip-hop was The Boot Camp Clik, consisting of Buckshot, Helter Skelter, Cocoa Brovaz, OGC, Illa Noyz and The Representativz. The Cliks slogan throughout the duration of their 1997 release Album for the People was: “Commercial rap get the gun clap”. A descendent of the early backpacker days, Buckshot has always been opposed to mainstream artists who sacrfice artistic integrity in the lure for more money.
The underground hip-hop scene has emerged as a circuit where young, talented and intelligent emcees can thrive. Their message is less abrasive and violent. While not all underground artists are choir boys, they are not barking over mics in a frenzy either.. They play small, sometimes dark and dank venues in front of a couple hundred people or much less than that.
Like the Christians in ancient Rome who held mass in catacombs and spread their religion secretly, underground artists are privately leading a revolution in these small clubs now in promotion of returning rap to hip-hop, and there probably has