Is Hip-Hop Dead?

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Regis University Student Publications

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Is Hip-Hop Dead? Is Hip-Hop Dead?

Tim Kinoti

Regis University

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TITLE

IS HIP-HOP DEAD?

A thesis submitted to

Regis College

The Honors Program

in partial fulfillment of the requirements for Graduation with Honors

by

Tim Kinoti

May 2018

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS 5

I. INTRODUCTION 6

II. THE BEGININNG 1970s 11

III. GOLDEN ERA OF RAP 1980S and 1990S 18

IV.THE MODERN ERA 25

V. CLOSING 31

BIBLIOGRAPHY 33

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Acknowledgements

Advisor: Don Bush

Reader: Professor Narcissi

Advisory Board: Professor Kleier

Regis Honors Program: Raeann Ramos, Thomas Howe

Regis Library and Librarians

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Introduction

“Sky is the limit and you know that you keep on

Just keep on pressing on

Sky is the limit and you know that you can have

What you want, be what you want

Sky is the limit and you know that you keep on

Just keep on pressing on

Sky is the limit and you know that you can have

What you want, be what you want

Have what you want, be what you want”

-Sky’s The Limit- The Notorious B.I.G. 1997

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Since its birth, the Hip-Hop genre and the culture influenced by it, has housed

the history and stories of, pain, jubilation, victory, shortcomings, debauchery and

hope in the African American community in the United States for decades. The

genres growth and proliferation has been a journey of contention but now Hip-Hop

has reached a magnitude of social importance and relevancy never before imagined.

As a result, with the help of generations of artists and the progression and

evolutions of the genre, it was reported as of this year that Hip-Hop/R&B is now the,

“Dominant Genre In The U.S.” surpassing Rock and Roll (McIntyre). What is

particularly interesting is the level to which Hip-Hop permeates society from

Daytime and Cable Television, to Social Media and Internet Culture, to even

advertisement and fashion. This in large part is due to the mainstream success the

genre has been able to cultivate.

A multitude of factors contributed to the widespread success of the genre but

by far the most important was the freedom and platform African-Americans and

minority artists where given, to say whatever they wanted in an unadulterated

manor. This opportunity gave millions of historically marginalized communities a

voice that spoke to their genuine Black-American experience. For example, during

the racial turbulence of the 1990s centered on the “Crack Epidemic” and Law

Enforcement brutality, artists had a voice to share their stories and perspectives

(Kembrew 142). The stories that were connected to the drug and gang culture were

vulgar and gruesome but they stood as a direct and real reflection of the time.

Sentiments within Hip-Hop music of the 1980s and 1990s, like “Fuck the Police” by

N.W.A., provided the initial tone and overall message of the genre. This message

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encompassed themes of defiance against the systems in place, introspective lyrical

storytelling of the black experience and ultimately black excellence. For Hip-Hop

historians and enthusiasts, the brutal honesty and conviction found in this eras

music served as the bedrock and blueprint for what Hip-Hop should represent.

As the genre progressed through the decades, mainstream success influenced

a change in the underlying tone of themes produced within the content. The

commercial industry demand for Hip-Hop changed many of the original themes

found in the genre, replacing them with content to serve a wider consumer

demographic (Stapleton 220). This shift was primarily done by fusing Hip-Hop with

trending Pop, which paved the way for many artist such as Drake, Chance the

Rapper, Migos and others that have meshed the two genres. While lyricism based

on sharing a message can still be found from certain artists, the modern wave of

Hip-Hop is found within the subgenre entitled “Mumble Rap”. This category is

characterized as a style of rap that prioritizes repetition, harmony, adlibs, and bass

heavy production over bars to create a vibe or catchy song (Genius 2017).

This change has further propelled the success of the industry, however it has

diluted the hard-hitting lyricism and content of early generations of rap. This

transformation has sparked a prevailing sentiment amongst the older generation of

rap enthusiasts that Hip-Hop has lost its relevance because it has lost its core

message. Additionally, as millennial crowds fixate on this new wave of music, and

more and more new artists mimic the stylistic sound, many see the future of Hip-

Hop as bleak.

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Regardless, this mainstream transition has given artists the opportunity to

diversify Hip-Hop as a genre. While Reality Rap, Gangsta Rap, and Boom-Bap Rap of

the 1980s and 1990s laid the foundation of the Hip- Hop genre, it only captured

portions of the Black and minority experience. Mainstream success has allowed for

further creativity and freedom within the artistry of Hip Hop. As a result, every

shade and complexity of the Black experience has been given room to be

represented within the genre (Morgan, Marcyliena 137). Just as Black-American’s

are not a monolith, Hip-Hop is no longer a vessel exclusively for awakening social-

political consciousness. In addition, this creativity has increased the overall quality

of the music being produced. Hip-Hop has given artists such as Kanye West, Tyler

The Creator, Travis Scott, XXXTentacion, and others to the room to reimagine the

sound of the genre creating hard hitting rap while fusing together multiple genres,

utilizing orchestras, sonic experimentation through technology, and branching

outside of common themes usually found in rap.

Cumulatively, Hip-Hop's has allowed artists to convey their living narrative

and history of the African-American and minority experience in a way that

recognizes, challenges, and changes society’s conceptual understanding of the black

body. Furthermore, by looking at specific artists or at the industry as a whole

through the course of time, we can see the progression and history of that African-

American experience, told by members within the culture itself. As a result, the

music has empowered listeners but also created industries within entertainment

such as radio, television, movies, touring, production, writing, and much more that

have created careers for countless black people (Watson). The mainstream industry

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success that Hip-Hop has enjoyed has been the driving cause for this progress, even

though it has diluted the overall content produced within the genre; straying away

from lyricism and intellectual themes towards more consumer oriented content.

While this is the case, the success of the genre has allowed artists new levels of self-

expression, which has lead to the wide array of creativity now seen propelling the

new waves of the Hip-Hop industry. This thesis argues that holistically that Hip-

Hop is comparatively in a better state than that of the 1980s and 1990s. This is

directly due to the limited themes found in the overall content of the genres earlier

years as well as the natural cross-genre fusion and increased production that has

improved the overall artistry of Hip- Hop. Naysayers would contests that the new

generation of rappers that are taking the industry over, no longer respect or

represent the true essence of rap and therefore, Hip-Hop is dying. I would offer that

since the Hip- Hop industry has been able to support such a variety of unique styles

that it is in fact stronger than it has ever been as a genre.

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The Beginning 1970s

“I said a hip hop the hippie the hippie

To the hip hip hop and you don't stop

The rock it to the bang bang boogie

Say up jump the boogie to the rhythm of the boogie, the beat

Now, what you hear is not a test, I'm rapping to the beat

And me, the groove, and my friends are gonna try to move your feet

See I am Wonder Mike and I'd like to say ‘hello’ “

-Rapper’s Delight- Sugarhill Gang 1979

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The 1970s marked the creation of Hip-Hop as a sound as well as an industry.

During the late 1960s going into the early 1970s, the dominant genre of music was

by far Disco music in the United States. Specifically in New York, which at the time

stood as a pinnacle of modern Western society, Disco was played on all the radio

stations, streamed over television air waves and most importantly fueled the

popular club scene and night life. On any given night, these clubs were packed with

wealth celebrities, businessmen, young women, and socialites all dressed in their

finest clothes dancing and singing the night away to disco tunes (Morgan, Robert)

.

Many African-Americans and minorities also listened and grooved to disco tunes but

due to social-economics in the various boroughs not many were able to enjoy the

clubbing scene

. This lead to an underground party culture specifically among

minorities in New York that was run by local Disc Jockeys who willing to host and

play music

. Many times these parties were held in people’s homes or in parks and

featured disco music as well but DJs at the time also played Funk and Soul music like

James Brown and Isaac Hayes as well as Jazz music like Gil Scott-Heron

. From this

underground scene Hip-Hop was born. (Morgan, Robert)

On the date of August 11, 1973 at a housing complex on 1520 Sedwick Ave. in

the Bronx, the first component of rap was born through a DJ called Kool Herc

(Greenburg). Dj Kool Herc and a close friend Coke La Rock were widely known for

the parties they would throw in the Bronx. What differentiated them from other DJs

where the records they would play and how they played them on a nightly basis.

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Kool Herc would find soul and funk records like James Brown’s “Ain’t it Funky,” skip

to the breakdown portion of the song where most of the instruments would fade out

except for the drums and sometimes the base, and he would loop this portion

continuously creating an entirely new song. He would do this endlessly with

multiple songs throughout a night giving the party a lively and popping atmosphere.

After this first party word spread making it possible for DJ Kool Herc and Coke La

Rock to host bigger bashes but the technique also spread to other local Disc Jockeys

looking to play around with a new sound

. (Kabango)

Another pioneer of Hip Hop was DJ Afrika Bambaataa

. During the early

1970s, Afrika Bambaataa was heavily involved in the gang community surrounding

the North Bronx area, rising up to be the leader of the Black Spades, one of the

largest gangs in New York at the time. While being involved with the street life,

Afrika Bambaataa also DJ-ed parties and after hearing Kool Herc’s style, replicated

and added his own flare and taste while spinning records (Oware)

. At this point,

Afrika Bambaataa started to focus and take music more seriously, which forced him

to leave the gang life behind him

. However, through his time in these organizations

he made friends with many of the leaders and members of other gangs creating an

opportunistic environment. These various gangs had massive influence over street

culture so through his connections Afrika Bambaataa started organizing huge events

under the pretense of peace and positivity for the night. The attendees of these

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celebrations were spiritedly called the Zulu Nation and have been marked as the

first official underground movement of Hip-Hop. (Alridge 194)

Concurrent with DJ Kool Herc and DJ Afrika Bambaataa another local Disk

Jockey was revolutionizing the music scene as well. DJ Grand Master Flash also

followed along the wave Kool Herc started and began playing the break beat portion

of song on loop at parties (Oware). At the time, the main equipment for playing

music at these house parties was turntables and mixing boards. This made it hard

to pinpoint definitive locations within a song, like the break beats, so the transitions

between songs were often hectic jumbles of sound

. Grand Master Flash, wanting to

perfect his sound, experimented with different ways he could achieve a smoother

transition

. His solution was drawing on his vinyl records with a crayon the location

of a solid transition point within a song as well as a mark on where the break beat of

the song was as well (Greenburg). In this way Grand Master Flash could quickly and

smoothly transition between songs but it also added an element never heard before.

While practicing with the song markers he had drawn on his vinyls, Grand Master

Flash noticed an interesting “scratching” sound made when he manually spun the

vinyl either forward or backward. Additionally he could emphasize certain words

or phrases by rewinding or skipping forward giving him another element to express

himself creatively. For Grand Master Flash, it gave him a new and unique sound that

allowed himself to differentiate his sound from other DJs popping up. With these

various new techniques DJ Kool Herc, DJ Afrika Bambaataa, and DJ Grand Master

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Flash established the rudimental sound of Hip Hop and as such are known to some

as the Holy Trinity of the genre. (Kabango)

Up to this point the sound had been established but no one was rapping over

this music in the modern traditional sense. What was prevalent were urban radio

personality like Gary Bird and Franky Crocker who would introduce or end songs

with very smooth rhymes and phrases during their segments that listeners

gravitated to. As a result, street DJs playing parties and events would do the same

or even bring a hype man to do the same slick style rhymes through transitions

.

Quickly this translated into individuals starting to put together rhymes that spanned

the entire length of songs

. It is hard to pinpoint the very first person to compose the

first full-length rap as much of Hip-Hop’s origin is not meticulously detailed and the

first official rap record was not produced until 1979 but the first major rhythmic rap

performer was DJ Hollywood who was also form New York

. Influenced by Pigmeat

Markham’s “Here come the Judge,” DJ Hollywood strung together long rhythmic

rhymes that were often disjointed yet flowed with the break beats found in popular

disco songs he looped (Skillz)

. Seeing the success of DJ Hollywood, DJ Grand Master

Flash tried to piece together small raps as well and perform them while he spun

records. He did not have much success trying this because he was shy while

rapping, so he invited his friends to recite some rhymes while he DJ-ed. This started

off as a casual routine but from there, Grand Master Flash and the Furious Five was

established. Including Grand Master Flash as the official DJ, the rap group was

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comprised of Mele-Mel, Kid Creole, Cowboy, Raheem, and Mr. Ness. Even though

they are officially the first rap group assembled, what made them special was

instead of playing at parties they exclusively played at venues and clubs.

Additionally, they created an entire concert show for people to see starting with DJ

Grand Master Flash playing random popular songs for the crowd to warm up and

dance to then a full performance with simple choreographed dance routines,

transitions, and matching outfits when the Furious Five came onto the stage. This

solidified the group as a full concert act and propelled them to touring the world

alongside acts like the Jackson 5 in 1976.

After Grand Master Flash and the Furious Five started having success, rap

groups began pooping up everywhere in New York trying to find their own success

.

Groups like Funky 4, DXT, Spooney Gee, The Treacherous Three, Fearless 4, The

Crash Crew and many others started popping up

. This caused a sense competition

between the new groups forming as there were only so many venues to play and

crowds were hard to draw. Of these new groups the two that were the most

successful were the Fantastic Five, and Grand Master Caz and the Cold Crush

Brothers (Kabango). In 1979, hip-hop was starting to build a community, mostly

underground in New York, with a few groups and acts prospering but the genre was

still very much in its infancy. This in large part was due to no recorded songs being

available in vinyl or commercial to be played by radio or distributed in general.

That was until August of 1979 with the release of “Rappers Delight.” Sylvia

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Robinson, the founder of All Platinum Records, was a local New York music

executive who had grown up in the music business as a teen singer. After great

success in the late 60s and early 70s her company falls on hard times to where

Robison is looking for one last ditch effort in reviving her label. One evening while

attending a birthday party in Harlem with a friend, Robinson hears a native DJ

playing the party and instantly knows this is what she needs. After a bit of

searching Robinson finds three rappers Master Gee, Big Bank Hank, and Wonder

Mike to make up the group known as The Sugarhill Gang who record and release

“Rappers Delight.” Their rap single shot up the charts making it to the top 40 on the

Billboard Hot 100 list and spurring not only commercial success for the Sugarhill

Gang but also mainstream recognition and ears (Simpson)

. The famous

introduction to the song, “I said a hip hop, Hippie to the hippie, the hip, hip a hop,

and you don't stop,” has been sampled and reused in countless current music

. The

song served as the first commercial and industry success for the genre. Though this

era served as the birth of Hip-Hop not much substantive content had been created.

In fact, critics believed that rap was a passing fad that would only last momentarily

due to its lack of musical integrity (Dimitriadis 33). The genre had yet to find a voice

or niche within the industry besides mainstream party songs for the club scenes of

New York. Regardless, the foundation had been set for artist to use their music as a

platform.

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Golden Era of Rap 1980s and 1990s:

“Life is parallel to Hell, but I must maintain

And be prosperous, though we live dangerous

Cops could just arrest me, blamin' us: we're held like hostages

It's only right that I was born to use mics

And the stuff that I write is even tougher than dykes

I've taken rappers to a new plateau

Through rap slow, my rhymin' is a vitamin held without a capsule

The smooth criminal on beat breaks

Never put me in your box if your shit eats tapes

The city never sleeps, full of villains and creeps

That's where I learned to do my hustle, had to scuffle with freaks

I'm an addict for sneakers

20's of buddha and bitches with beepers

In the streets I can greet ya, about blunts I teach ya

Inhale deep like the words of my breath

I never sleep, ‘cause sleep is the cousin of death

I lay puzzle as I backtrack to earlier times

Nothing's equivalent to the New York state of mind”

-N.Y. State of Mind- Nas 1994

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While the 1970s played the crucial role of forming the sound that would

become Hip-hop, the overall genre lacked a message or cohesive themes that would

serve as the backbone of the sound. Entering the 1980s and 1990s artist began to

realize this new art form was creating a platform, which could be utilized to vocalize

much more than just party anthems. As this became more evident, artists started to

change collectively to “reality” based lyricism where everyday hardships, triumphs,

and existence was used to paint the content created (Philips). This wave inspired

songs of rebellion against the system that oppressed while also empowering those

living within such condition. This change of sound came to define Hip-Hop as a

vessel for entertainment but also as an opportunity for solidarity within African-

American audiences. As a result, many believe that this era represented the “Golden

Age” of rap because the genre had a clear overall message. (Kuttner 533)

The journey that began this transformation of the Hip-Hop sound started

with a rap group known as Public Enemy. While attending Delphi University in

Georgia, students Chuck D and MC DJ Flavor Flav hosted an on campus radio station

named WBAU. Between playing popular radio songs, the duo would sneak on their

own records they had secretly making through the radio-recording studio. As their

radio show grew in popularity, Rick Rubin a music producer for the up-and-coming

record label Def Jam Recordings heard a few sets off their radio show and reached

out for a CD demo to potentially offer the rap duo a contract. Originally Chuck D did

not want to sign to Def Jam in the fear that he would be forced to make records that

appealed to popular culture, meaning he would have to water down his lyrics. After

long conversation with Rick Ruben and label executive Russell Simmons on lyrical

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branding and marketing strategies, Public Enemy was created (Stacey). In 1989,

they released their first single entitled Fight the Power. Amongst lyrics that

criticized police brutality and poverty, lyrics such as “Elvis was a hero to most / But

he never meant shit to me / Straight up racist, the sucker was / Simple and plain.”

Knowing he would reach an audience comprised of manly minorities, Chuck D used

the third verse of the song to relay a sentiment to the greater populous that many

non-white Americans already felt. The reaction to the song was divided but with the

help of film director Spike Lee who filmed the music video for the song that

incorporated scenes from his movie Do The Right Thing. As a result, the song sold

over 500,000 copies in its first year and became a rallying cry for the youth during a

Ronald Regan presidency that was igniting the “war on drugs,” ostracizing patients

within the AIDS epidemic and ignoring racial tensions. One journalist wrote, “Public

Enemy's explosive 1989 hit single brought hip-hop to the mainstream—and brought

revolutionary anger back to pop” (Warrell). This song set a new precedent for

artists within the genre. This song proved that Hip-hop could be a platform where

artists could speak their truth to the masses, and regardless of the disparagement

some may have, the support from minority consumers carried the message onward

commercially. Public Enemy’s message sparked the essence of the polarizing and

defiant era of the 1990s.

Entering the 1990s on the West Coast of the country, primarily Los

Angeles California, gang cultured predominantly perpetuated the proliferation of

rap. Small disordered gangs turned into massive criminal enterprises with the

introduction of crack cocaine in 1984. When gangs realized the commercial

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opportunity that crack presented, a dramatic increase of gang related violence also

ensued (Felker). Members of these groups would openly fight for control of certain

areas that other groups considered their territory to sell crack. This caused an

influx of weapons, especially guns, into the South Central region as money from

crack flowed in and fighting continued to control ideal distribution areas.

Consequently, police activity within these communities rose as well in the hopes of

combatting these gangs by any means possible. This created harsh environments

filled with violence, manly surrounding the minority communities they affected.

However, the popularity surrounding the consumption and selling of crack,

perpetuated a system where gangs and their members where idolized in certain

communities because of the financial profits being made (Quinn). One such rapper

influenced by this tide in the Crenshaw neighborhood of Los Angeles was Ice-T. Ice-

T was never officially inducted into a certain gang, but due to the friends and

community he grew up around, he found himself associated and friends with

members within The Crips. While hanging with friends who were also active gang

members, he would recite “Crip Rhymes,” short lyrical versus that rhymed with

Crip, to entertain his posse. Instead of the party tone that Hip-Hop was currently

embarrassing, these rhymes depicted graphic but real realities of gang culture (Van

Hellemont and Densley). Ice-T took this concept and released his first song entitled

“6 N The Mornin” in 1987, that sported lyrics such as,

“6 in the morning, police at my door/Fresh Adidas squeak across the

bathroom floor/Out my back window I make a escape/Don't even get a

chance to grab my old school tape/Mad with no music, but happy cause

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free/And the streets to a player is the place to be/Got a knot in my/pocket,

weighing at least a grand/Gold on my neck, my pistols close at hand” (Ice-T).

This song single-handily brought the concept and theme of “Reality Rap or

Gangsta Rap” to the genre of Hip-Hop. Ice-T unapologetically embraced his

affiliation with gang culture and vividly illustrated the drugs and violence

surrounding it in a way that did not denounce or critique its morality but presented

it as a reality.

Inspired by this new sound as well as changing tides within communities,

techno DJs also began to adapt and mimic the hostile and aggressive demeanor of

Los Angeles. One such DJ, who was once apart of the World Class Wreckin Cru, led

the propagation of this gangsta rap sound was none other than Dr. Dre. With fellow

friend and producer DJ Yella, Dr. Dre started transitioning from techno beats to

slower, more pounding beats that could be used to tell stories using lyrics. Dre and

Yella decided to recruit the best rappers within their community to take the beats

they made and turn them into full songs that followed Ice-T’s blueprint, portraying

their life experiences in Los Angeles. They recruited local friends Arabian Prince,

MC Ren, and Ice Cube to join their group while another friend Eazy-E loaned them

the money they needed for the production of the music. As a collective, they named

their group Niggaz Wit Attitudes (N.W.A.). With the help of music manager Jerry

Heller, Eazy-E established Ruthless Records and produced and released N.W.A’s

first studio album in 1988 entitled Straight Outta Compton. This album redefined

the trajectory of the Hip-Hop genre with songs like "Gangsta Gangsta" and "Fuck

tha Police." The album was released to critical acclaim and went on to sell over 3

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million records but the lyrics and messages within were met with high scrutiny.

Writer David Mills of The Washington Post wrote, “The hard-core street rappers

defend their violent lyrics as a reflection of 'reality.' But for all the gunshots they

mix into their music, rappers rarely try to dramatize that reality — a young man

flat on the ground, a knot of lead in his chest, pleading as death slowly takes him in”

(LaBlanc). Many viewed this music as the direct cause of violence within drug

infested communities. Additionally police departments across the country called

and even the FBI called for the censorship of "Fuck tha Police," as they deemed it

dangerous. However, for the African-American audiences that were fans of N.W.A.,

the song projected a sentiment that was already deeply felt by so many people. For

many, life was riddled by constant harassment, subjugation, and even death at the

hands of Law Enforcement for seemingly just being a minority (Perry). These

sentiments were validated in 1991 with the gruesome beating of Rodney Glen King

at the hands of Los Angeles Police Department. Even with footage from local new

station KTLA 5 that clearly showed multiple officers stomping, beating and

taunting Mr. King, not a single law enforcement agent implicated was convicted of

any wrong doing. Hours following the acquittal on April 29, 1992, Los Angeles was

flung into civil unrest and rioting (Sides 593). This case showed the American

public the injustice faced by minorities on a daily basis that sparked the creation of

songs like “Fuck tha Police.”

Ice-T and NWA sparked an era of social conscience and brutal honesty that

prevailed throughout the 1990s. Others artists would rise to superstardom

building on these themes to continue this narrative within the Hip-Hop community.

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Artists like Nas carried the mantel in New York in the 1990s with songs such as “It

Ain’t Hard to Tell” that relayed his story of living around gang and drug culture in

New York as a youth and young adult. Jay-Z’s song “99 Problems” paints a vivid

picture of the ill interaction between law enforcement and African-Americans that

was routine. Other great artists of the 1990s such as 2 Pac and The Notorious B.I.G

also created albums like Me Against the World and Ready to Die, respectively, along

with other catalogues of great music surrounding these same themes of African-

American struggle, gang culture, black empowerment, and hope. Though these

themes served as the bedrock of the genre, many artists within this era did not

venture very far from these fundamental topics.

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The Modern Era

“For what's money without happiness?

Or hard times without the people you love

Though I'm not sure what's 'bout to happen next

I asked for strength from the Lord up above

Cause I've been strong so far, But I can feel my grip loosening

Quick, do something before you lose it for good

Get it back and use it for good

And touch the people how you did like before I'm tired of living with demons

Cause they always inviting more Think being broke was better

Now I don't mean that phrase with no disrespect

To all my niggas out there living in debt, Cashing minimal checks

Turn on the TV see a nigga Rolex

And fantasize about a life with no stress I mean this shit sincerely

And that's a nigga who was once in your shoes

Living with nothin' to lose, I hope one day you hear me

Always gon' be a bigger house somewhere, but nigga feel me

Long as the people in that motherfucker love you dearly

Always gon' be a whip that's better than the one you got

Always gon' be some clothes, That's fresher than the ones you rock

Always gon' be a bitch that's badder out there on the tours

But you ain't never gon' be happy till you love yours”

-Love Yourz- J. Cole 2014

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Nearly 40 years after party DJs in the small Borough of Bronx birthed the

sound and style that that would shape an urban genre, the Hip-Hop capital spending

power is now over $1 trilion dollar (Simmons Lathan Media Group). Each year the

industry generates more than $10 billion dollars, surpassing Rock and Roll ($ 9.2

billion dollars) as the most consumed genre within U.S. music markets (Hugh

McIntyre). Each year the genre is responsible for 40% of nation wide album sales as

well as 29% of on demand streaming within North American markets (Forbes). As a

result, artistry within the music, branding, and performing has elevated drastically.

Artists have a high bar to reach when competing for excellence amongst their own

peers. As this progression occurs, Hip-Hop has begun fusing across genres to make

new styles of music. Multitudes of subgenres within Hip-Hop have arisen in this

manor where artists are allowed the freedom to create and experiment freely. This

evolution has lead to the modern era of rap, which is filled with complexity.

Not everyone within the culture of Hip-Hop likes the trajectory of this

contemporary era, mainly due to the popularization of pop centered rap. Artists like

Lil Yachty, Lil Uzi Vert, Playboi Carti, Trippe Redd and others have reached record-

breaking success pushing a new wave of rap entitled “Mumble Rap.” By nature, the

name of this subgenre is derogatory and is often not used by artists that are labeled

as such, however sonically many of the artists sound similar. Songs of this

classification often rely heavily on loud bass production from electronic drums and

sharp rolling snares to create upbeat and bouncy rhythm. Unlike 80s and 90s Hip-

Hop where production was left sparse so audiences could here hear the lyrics of the

rapper, in “Mumble Rap” production usually dominates. As a result, it can be hard to

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hear what lyrists are trying to say. “Mumble Rap” originates from 2000s Atlanta

“Trap Music.” Artists such as T.I., Jeezy, and Gucci Mane popularized melodic hood

raps that vividly illustrated stories concerning drugs and gang activity involving a

centralized house (Trap). This name stood as a metaphor, for the ethical and legal

dangers an individual put themselves into when drug dealing in such houses in poor

urban communities. Following its creation, other artists from Atlanta like the Migos,

Future, Young Thug, 2 Chainz, 21 Savage, and others infused melodic pop into “Trap

Music” laying the foundation for the blockbuster mainstream success of “Mumble

Rap.”

The content within this new subgenre is not what is particularly alarming as

the creation and proliferation of new subgenres happens frequently. The debate

around “Mumble Rap” lies in how quickly the subgenre has taken over the majority

of content being released by new artists. No official data has been compiled to

quantify what bulk of the modern industry is made up of “Mumble Rap” however a

good marker for the industry is XXL (magazine) Freshman Class cover. Started in

2007, XXL takes this annual issue to highlight ten new Hip-Hop artists that are set to

be big entertainers in the coming years. The editors of XXL choose nine of the ten

artists selected for the cover, with the tenth being nominated by a nationwide poll.

Though the selection of these artists is highly politicized, by looking at the 130 to

150 artists that submit application for recognition, one can see music trends in the

newer generation. In 2012, roughly 13% of all the candidates created music that

would be stylistically characterized as “Mumble Rap.” After the release of songs like

Tony Montana by Future in 2012 and Versace by the Migos in 2013, these numbers

Kinoti 28

jumped. By 2016 nearly 36% of applicants were using this same style with the

percent steadily increasing. (XXL) Critics of “Mumble Rap” see this as a foreboding

trend for the genre. If the emphasis of most new rappers is no longer lyrical based

messages and instead catchy pop based songs, where is rap heading as a industry?

Though the logic is correct, this perspective fails to view the genre

holistically. Multitudes of other subgenres exist in rap, all carrying their own

mantel. Some of the most exciting new music being created in society can be found

in the alternative subgenres new artists are creating within Hip-Hop. Artist such as

XXXTentacion, Jaden Smith, Childish Gambino, Tyler the Creator, Anderson Paak and

others have utilized technology and resources to fuse full orchestras with jazz, pop,

and even country and folk with 808 synthesizers to create medleys of music hard to

categorize. Furthermore, as Hip-Hop becomes a global entity, it has begun

incorporating foreign styles into the sound creating new and unique cross-cultural

fusions. For example, in his recent playlist entitled More Life, Drake expanded his

range, incorporating dancehall rhythm from Jamaica with the “Grime Boy” rap style

found abroad in the United Kingdom. For some, this album represents a musical

collaboration connecting the Black diaspora. “Historically, black working class

culture has largely been experienced internationally through the lens of hip-hop. On

More Life, Drake shifts from that perspective, (happily) disrupting the U.S.

dominance of how the black experience is represented in western pop culture”

(Yates). International markets such as Canada, England, and the Caribbean Islands

have cultivated their own Hip- Hop communities, stylistic sound and stories but

these markets have never captivated the primary attention of populous culture in

Kinoti 29

the United States. Artists, such as Drake, incorporate Toronto lingo with Caribbean

dancehall melodies and British lyrical energy to create a totally new global sound

(Morgan 143). Other genres have also stared to be included into new music like

Latin Pop, Rock n Roll, Disco and others. Not everyone supports this movement,

particularly in the case of Drake, as some see this incorporation as cultural

appropriation. However, in music history, fusion is seen as a natural progression in

the rise and fall of genres (Alridge et. al). Regardless, album such as this speaks to

the complexity and inclusivity of the genre.

Despite of all the changes, some artists chose to embody an introspective

essence that has its roots in the sound of past decades. Under the mentorship of Jay-

Z , producer and rapper Jermaine Cole (J. Cole) from Fayetteville, North Carolina has

challenged social consciousness with his music. His albums 2014 Forest Hill Drive

(2014) and 4 Your Eyez Only (2017) were both commercial successes, selling 1

million units respectively (certified 1X Platinum), while engaging topics ranging

from police brutality, social inequality, the beauty of family, love, and empowerment

for black Americans. Another artist leading the new school of woke rappers, hailing

from Compton, Los Angeles in California is Kendrick Lamar. A prodigy of the 1990s

West Coast Gangsta music, Kendrick Lamar has worked closely with Dr. Dre while

signed to Top Dawg Entertainment (TDE). His albums Good Kid, M.A.A.D City (2012)

and Section.80 (2011) depict the harsh realities of growing up in south central

California in the early 2000s while the albums To Pimp a Butterfly (2015) and DAMN

(2017) show Lemar’s music versatility and lyrical prowess in conveying a message

of hope in the black community. His catalogue has earned him 7 Grammy Awards

Kinoti 30

and recognition from the mayor of Compton Aja Brown and even former United

States President Barack Obama for his humanitarian mission for “Purpose,

Prosperity and Progress” (Legaspi). Many other artists such as Big K.R.I.T., Rapsody,

Joey Badass, Run the Jewels and others also contribute their voices to pushing

socially conscious music.

In aggregate, even though “Mumble Rap” may receive the spotlight as it sits

on the crossroads between pop and rap, the Hip-Hop genre has given room to many

different themes, ideas, and styles. In fact, Hip-Hop has grown to incorporate a

flourishing “Christian Hip-Hop” chapter. Artist such as TobyMac and Lecrae who

choose to use their music to spread the message and word of Christ to their fans

have enjoyed successful careers within Hip-Hop. The sounds and styles of the 1980s

and 1990s may not be readily heard in this modern era, however the beauty lies in

the fact that, whatever style you do prefer, it is represented by modern artists.

Kinoti 31

Closing

“Ayyo, I remember Marvin Gaye, used to sing to me

He had me feelin' like black was tha thing to be

And suddenly the ghetto didn't seem so tough

And though we had it rough, we always had enough

I huffed and puffed about my curfew and broke the rules

Ran with the local crew, and had a smoke or two

And I realize momma really paid the price, she nearly gave her life, to raise

me right, And all I had to give her was my pipe dream

Of how I'd rock the mic, and make it to tha bright screen, I'm tryin' to make a

dollar out of fifteen cents, It's hard to be legit and still pay your rent, And in the end

it seems I'm headin' for tha pen, I try and find my friends, but they're blowin' in the

wind, Last night my buddy lost his whole family, It's gonna take the man in me to

conquer this insanity, It seems tha rain'll never let up I try to keep my head up, and

still keep from gettin' wet up you know it's funny when it rains it pours

They got money for wars, but can't feed the poor

Said it ain't no hope for the youth and the truth is It ain't no hope for tha

future, And then they wonder why we crazy

I blame my mother, for turning my brother into a crack baby, We ain't meant

to survive, 'cause it's a setup, And even though you're fed up, ya got to keep your…

Keep ya head up, ooh, child, things are gonna get easier

Keep ya head up, ooh, child, things'll get brighter”

- Keep Your Head Up - Tupac Shakur 1993

Kinoti 32

Hip Hop and the culture it has created, encompasses a beautiful tapestry of

diversity. Through the generations, the genre has been given room to grow and

likewise has expanded to house many different voices and messages. During the

genres inception, many of the themes were a direct result of the society and

individuals pioneering the art form. Mainstream popularity has given allowed more

voices and artistic points of view into the sound of the genre and as a result

subgenres such as Mumble Rap have flourished as the modern era of Hip-Hop

thrives on creativity. Some would say that the popularization of such a subgenre is

detrimental for the trajectory of the craft as it marks a separation and progression

from the true essence of what Hip-Hop stands for. Others, such as myself, and other

modern artists such as Belly disagree. “I appreciate and love every facet of hip-hop

and everything that's going on right now in the game… We've had different genres

within our genre for so long that people just fail to realize that it's going to keep

repeating” (Belly CNN). The fact that new subgenres are able spring forth within

Hip-Hop, specifically those that not everyone is able to relate to when listening,

speaks the overall strength of the genre. Outside of mumble rap, this has driven an

increase of experimentation, expansion, and mastery of Hip-Hop as a musical art

form. The best modern artists, such J-Cole and Kendrick Lamar, fuse stylistic

characteristics from modern rap with past generation to drive traditional rap into

the future at a high level. Kendrick Lamar, for instance, was just awarded the 2018

Pulitzer Prize Winner in Music for his 2017 album Damn., becoming the first non-jazz

or orchestra based work to win the prize. Lastly, and most importantly, artists to

this day still utilize Hip-Hop to drive social-consciousness and change as was done

Kinoti 33

in the 1980s and 1990s. Kid Cudi’s album Man on the Moon:The End of Day released

in 2009, dove into themes of mental illness, depression, suicidal thoughts and is

seen by many millennial listeners as a beacon of hope for indivudals that struggle

with the same issues. In addition, Macklemore & Ryan Lewis’ Same Love was able to

garnered social awareness to Gay and Lesbian rights in 2012. The essence of Hip-

Hop lives on with artists and messages such as these that go on to have impact in

individual’s lives. Hip-Hop was never intended to be genre or one singular idea that

all generations had to conform to. Today, more so than ever, Hip-Hop influences

many different people in various ways. Eventfully a day will come where the genre

is surpassed by the latest music trend, as is music history, however today Hip-Hop is

still alive.

Kinoti 34

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