Art or Commercial Bullshiite?


A few months ago we nailed home the concept that this Hip-Hop shit wasn’t thorough enough to be called a culture. After reading the latest Vanity Fair rag I found out that the Hip-Hop that I was brought up on wasn’t even art. Its all commercial bullshiite.

The Vanity Fair article detailed the true story of the Robinson family, the founders of SugarHill Records. The story decribed how the Robinson family was indebted up to their eyeballs to the T.I. mafia. They were desperate to find that ‘next nigger shit’. SYLVIA ROBINSON goes to the legendary Harlem World nightclub to see what kind of disco music the jigs are vibing to. She experiences a Hip-Hop party and right then she knows that she has stumbled onto her pot of gold. She can’t understand what is being said by the emcees and she could care less, all she knows is that this thing is going to be huge. She runs back to New Jersey and literally picks up three jigs off the street and brings them to her home studio. Listening to ‘Rapper’s Delight’ it wasn’t hard to tell that the music was stolen from the CHIC classic ‘Good Times’, but the hammer that was dropped on my head is this… most of the ryhmes used for the song were stolen from the rhymebook of GRANDMASTER CAZ. One of the emcees on the record was a manager for COLD CRUSH BROTHERS and asked CAZ if he could borrow his rhymebook for a meeting he had in New Jersey. CAZ thought that he might be getting put on so he gave up his book to that loser. How apropo is it that the very first incarnation of recorded Hip-Hop has jigs stealing other jigs creative talent? I won’t even complain now when JAY-Z does a cover of B.I.G.’s ‘Juicy’.

Fast forward to the present and Hip-Hop, ne, crap music is a global phenomenon in how it mobilizes and motivates the youth. Crap music determines what is of value to these kids. It constantly tells them what to buy. What has become even more insipid is that crap music tells people what to think and how to react. The pathos of ‘Get Rich or Die Trying’ is that you would do anything for money. That life has a transferrable price in dollars and cents. 50 CENTS.

CURTIS JACKSON is crap music’s greatest prophet for profit because he has maximized his popularity by being this multimedia juggernaut. You can’t turn away from the 50 CENTS character. The television plays his music videos and then incessantly airs commercials that hype the big screen biopic coming to theaters this month. The radio plays the soundtrack to his videogame. I walk into a bookstore in order to escape the madness and right in the center of the store is an entire table table filled with 50 CENTS’ book. Yes, his book! This last irony forces me to sit down in one of the oversized leather chairs and contemplate the future of the children that I see around me. 50 CENTS considered the only two options for his life were guns or microphones. He never mentioned books.

50 CENT says in one of the voiceovers segments for the movie that he got into crap music because unlike drugs he couldn’t be prosecuted for selling a lot of records. That was the motivation for this ‘bullshiite artist’. Crap music will never again be art. It’s all just commercial bullshiite.

5 Responses to “Art or Commercial Bullshiite?”

  1. CALNIGULA says:

    it kills me mein…i am all for my people gettin this money but,i don’t know man ,i got this lump in my chest man, it hurts.i don’t wanna kill my lil homies in the streets because they hype of a 50 joint, but i’ll do it with no problem.shyt is changin 4 the worst man.these dudes is all puppets and since the TI’S figure we dont have any morals anyway they gonna keep feedin us candy.babie get sick when u feed em 2 much candy.they’ll sell 50 shyt 2 us but i bet u that shyt don’t blast in they household.

  2. apple halsey says:

    speak! speak!

    and we’re disgusted because we expect more. but how many expect anything from fiddy other than a “hot” (a negotiable term to my ears) album. that may be the saddest thing of all — the expectation for music to mean something is gone, so the rest just seems right.

    i guess if you’re accustomed to getting steakums instead of steak, you eventually start craving steakums.

  3. Thank you for that commentary…which only makes my reason for not listening to “crap” music (if you can even call it music) more valid.

  4. Junior Estro says:

    “i guess if you’re accustomed to getting steakums instead of steak, you eventually start craving steakums”
    Could not be said any better. The director Don Letts, the guy that essentially got London Punk scene into reggae in the 70s-80s, says we should not trust anyone UNDER 30 cause the kids today have no sense of rebellion. I am paraphrasing, but it is the truth. 50 is candy. Hard to say PE was just sugar. Shit they would be in jail if those record came out now.

  5. the_dallas says:

    P.E. was the most important revelation for the T.I.’s and corporate America because they described their rap music as a mechanism for bringing information to the people.

    When everything was party and bullshit no one in the mainstream really paid attention. The typical response had been, “oh, look at the poor folks banging their pots and pans together, let’s throw them a nickel so we can write it off as a charitable donation on our income taxes.”

    After P.E., the T.I.’s were like, “Fuck that shit! These Niggers is about to educate white youth to our bullshit. We better set this rap shit straight.”

    And thence came N.W.A.

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