1. art and entertainment
2. music
3. music genres
4. hip hop

I Still Love H.E.R.:
The Story of the Hip-Hop Nation
By William White
©William White, 2011
William White is a graduate of the AYA in Social Studies Program at Lourdes College. He is
currently teaching young adults in the city of Toledo. William’s masterful and heartfelt study
of Hip-Hop has been awarded “Best Narrative” in the 9th edition of “Tell Me a Story,”
Department of History’s Online Narrative History Journal.
“I met this girl when I was 10 years old,
and what I loved most, she had so much soul
She was old school when I was just a shorty,
Never knew throughout my life she would be there for me.
… Not about money, no studs was mic checkin‟ her
but I respected her, she hit me in the heart…”1
-
Common, ―I Used to Love H.E.R.,‖ Resurrection
When rap music first hit the music scene, it was viewed as a passing fad; destined to go
the way of disco - here today, gone tomorrow. Critics complained how useless the lyrics were
and laughed at the so-called lack of creativity the whole genre possessed. The idea of using
someone else‘s recording or, even worse, a person‘s mouth to create beats better known as (beat
boxing) was not only unheard of but also viewed as somewhat primitive. It was, however, this
primitive beginning and massive evolution later that makes the genre so grand.
But not everyone saw rap‘s beginning as so grand. Music Television, better known as
MTV, had no intention of ever broadcasting rap videos or involving itself in hip-hop. Matter of
fact, MTV had no intentions of involving itself in anything but rock and roll. MTV was not as
multicultural as the title sounds for no black artists who were involved in rock would ever be
allowed on the all music channel. In the early 1980s, when MTV started, there were only a
handful of black artists who fit the bill. While MTV aired Michael Jackson‘s video for ―Billie
Jean‖ in 19832, it would be another two years before MTV broadcast a video by a rap artist: Run-
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DMC‘s remake of the rock and roll hit, ―Walk This Way.‖ Even Then the video featured the
original rock song‘s creator, Aerosmith. ―Walk This Way‖ became Run-DMC‘s biggest hit,
paving the way for rap‘s crossover appeal.3 The following year, MTV finally broadcast a nonrock based, completely hip-hop video. LL Cool J‘s, ―I‘m Bad,‖ was broadcast in 1987, a full six
years after Music Television had first premiered. On August 8, 1988, finally recognizing the full
potential of hip-hop, MTV premiered the first hip-hop focused program, ―YO! MTV Raps.‖ Pop
radio stations were just as reluctant to include rap music in their rotations. Urban and R&B
stations had always included it but other genre stations were hesitant to consider rap music as
part of the pop radio family.4
Nevertheless, rap music soon proved to be popular on MTV and on pop radio stations. It
became so popular so fast that people often forget that rap was more than music. It remains to
this day the musical branch of a wider culture known as Hip-Hop. It is a culture that to this day
represents what many young people regard as hip, cool, and in style. During its early days, when
MTV and pop radio stations swore they would never play rap music, it would have been
impossible to believe how influential it would become. Today it is impossible to listen to even a
half hour of pop radio broadcasting without hearing a multitude of songs featuring rap artists.
The influence of rap and its sub-cultural parent, Hip-Hop, can be seen beyond music. Movies,
television programs, and advertising of every kind use hip hop in one form or another. There
may be no place in modern culture, and the equally important corporate world, that hip-hop has
not touched.
Sadly, despite the tremendous influence that rap music and the Hip-Hop lifestyle have on
our society, many young people, who were not around for its inception, do not understand the
evolution of this culture. Even worse, what has now taken center stage as mainstream rap has
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served to warp the public‘s view of a culture that at one point led the way as an instrument not
just for entertainment, but for political change and social consciousness as well. Why has rap
music and the hip-hop culture been incorporated into the marketing of virtually every product
imaginable and how profitable has this become to corporate America? How did Hip-Hop
become the podium for lewd, vulgar, violent, sexual, sexist, and homophobic behavior? Was it
ever a true reflection of African American culture in general or was it always just a stereotype?
It seems that hip-hop has lost its authenticity under a mountain of cash and hedonism.
There was a time when the terms ―hip-hop‖ and ―rap‖ were both intertwined and either term
could be referenced to talk about the music of the culture. However, much of the mainstream
music heard today has separated itself from the true spirit of the culture; so much so that the
terms are no longer identical. There is hip-hop music, which continues to maintain the values
and essence of the hip-hop culture; and rap music which can be described as the more corporateinfluenced, crude sex based genre heard on radio stations everywhere today. Festivals and
contests that celebrate hip-hop, breakdancing, graffiti art, and DJing as art forms are still held
overseas but not in the United States, the nation that gave them birth. In fact, it is now necessary
to leave this country in order to enjoy its roots.
If we are to understand what has become of hip-hop, then we must first understand where
it all began. Rap music as we know it today began in the early 1970s in New York City‘s South
Bronx. It was the music produced by a sub-culture that called itself ―Hip-Hop.‖ This was a
community of disenfranchised inner city youths who felt left out and overlooked by mainstream
society. They developed their own language, style of dress, music, and art as a release. Young
men and women who belonged to this community were called B-Boys and B-Girls which stood
for ―Beat Boys‖ and ―Beat Girls.‖ B-Boys and B-Girls created a new kind of fashion by adding
3
color and designs to their clothing. Stylish patterns, names, and pictures were added to shoes,
jackets, pants, shirts, or anything else the wearer chose. Hip-Hop clothing designs closely
resembled the artwork known as graffiti. True graffiti is far more than just writing, ―Kilroy was
here,‖ on the side of a wall. This art form often expresses ideas or celebrates the artist with great
style. Instead of paintbrushes, canvases, and easels, the graffiti artist uses the less expensive
media of spray paint on any broadside available, i.e. walls, streets, trains, or clothing as his
canvas. Graffiti art is truly something to behold.
If graffiti was the art form of Hip-Hop, then rap was its musical form. Speaking at a
seminar on hip-hop at Owens Community College, former rapper and recording artist, David
Bush, gave this definition, ―Rap is something you do; hip-hop is something you live,…rapping is
the actual rhyming to the beat, a lot of people interchange the two terms, but they are not the
same thing‖.5
“…But she was there for me and I was there for her
Pull out a chair for her, turn on the air for her
And just cool out, cool out and listen to her…”6
But where exactly did rap come from? In 1969, a young DJ by the name of Kool Herc
moved to the Bronx and introduced the concept of switching songs on two turntables using a
cross fade mixer; a method made popular at parties in his native Jamaica. Mixing songs quickly
became popular at parties in New York and soon other local DJs were getting into ―the mix.‖ A
New York DJ named Grandmaster Flash introduced ―quick‖ mixing by swiftly changing songs
using the cross fader. Flash and his rap group, The Furious Five, introduced what came to be
known as ―storybook rap‖ in which the rapper conveys a tale or story in rhyme. DJs everywhere
began to hone their mixing skills and in 1978 their progression paid off. A teenaged DJ named
Grand Wizard Theodore ushered in what would become the proof positive of any DJ‘s skills:
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Scratching. One night while the Wizard was working on some new mixes in his bedroom, his
mother came to the door to have him turn the volume down. In an effort to better hear his
mother, he stopped the record on the turntable with his hand, which gave a momentary
scratching sound. Theodore liked what he heard and started working on incorporating the sound
within the mixes he was creating, and thus the art of scratching was born.
“Now periodically I would see
ol' girl at the clubs, and at the house parties…”7
It is important to mention how important DJs were to the development of hip-hop culture.
The DJ was the most important member of a crew (group). MCs (rappers) made special mention
or wrote entire songs about their DJs to pay homage to their abilities on the turntables. Part of
the MC‘s job was to spotlight and herald the DJ. After all, it was the DJ who provided the music
to make a house party, school dance, or nightclub a success. Without a DJ commanding the
turntables, there would be no music; so much respect was bestowed on the DJ. ―Peter Piper‖ by
Run-DMC speaks of DJ Jam Master Jay, ―Eric B. is President‖ by Eric B. and Rakim pays
respect to Eric B., while ―Spindarella‘s Not a Fella‖ by Salt-N-Pepa pays homage to DJ
Spindarella and ―Rock the Bells‖ by LL Cool J gives esteem to Cut Creator. 8
―…Girls love the way he spins, DJ‘s try to be like him…
Hand‘s so fast got so much class,
Makes all the other DJs a thing of the past…‖9
-
Grandmaster Flash and the Furious Five, ―Girls Love the Way
He Spins,‖ They Said It Couldn‟t Be Done”
―…Now you know every show who‘s on the wheels (turntables)
He‘ll drive the cross fade like a cut mobile.
So precise with a slice that there‘s no one greater,
What‘s my DJs name? (crowd yells) Cut Creator!‖ 10
- LL Cool J, ―Rock the Bells,” Radio
5
―…Jay's like King Midas as I was told
Everything that he touch turns to gold
He's the greatest of the great get it straight he's great
Playing fame ‗cause his name is known in every state
His name is Jay to see him play will make you say
goddamn that DJ made my day…‖11
- Run DMC, ―Peter Piper,‖ Raising Hell
Just one year after Grand Wizard Theodore invented scratching, ―Rappers Delight‖ by
the Sugar Hill Gang became the first rap single ever officially released on a record label. It was
a sound and vibe many had never heard before. It was not long after its release that more rap
music started pouring out of New York and along with it came the entire lifestyle and culture of
hip-hop. By 1980, Hip-Hop was in full blast. Young people in every inner city could be seen
and heard rapping, breakdancing (an Americanized variation of a traditional West African dance),
and pop-locking (another form of dance that mimics robotic movements). Ironically, these two
forms of dance originated on opposite coasts. 12
Breakdancing was born, like the hip-hop culture, in New York City although this time
Brooklyn was the borough of its origin. Breaking is a complex dance comprised of four parts;
top or up rocking, footwork, spinning, and freeze. Top or up rocking are movements done by a
shuffling foot movement that moves the dancer usually in a circular motion. Some dancers
specialize in up rocking but it is usually a setup for spinning. The footwork and spinning are
done on the floor. Footwork is done when the dancer uses his arms and hands to support himself
while he uses his legs and feet to do leg sweeps, kick moves and shuffles. Spinning is exactly
that; spinning in various ways on the floor. Dancers can spin on anything they can balance
themselves with; elbows, hands, backs, knees, even on their heads. Many of the breakdancing
moves are inspired by classic Kung-Fu and karate movies including those made by Bruce Lee.
Breakdancing met the big time with the Hollywood hip-hop film‘s Beatstreet, Breakin‟, and
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Breakin‟ 2. Breakdancing crews (groups) formed everywhere and New York produced two of
the most famous: The Rock Steady Crew and the New York City Breakers.13
Pop-locking took shape on the streets of L.A. The dance form gets its name from
mimicking the movements of robots and pantomimes. The moves were also incorporated into
space like movements that give the illusion of moving fluidly and walking or gliding on air. One
of the most famous of these movements is the float, which took on its more famous name, the
moonwalk, after being performed by Michael Jackson. Popping from the west coast and
breaking from the east coast soon collided and people all over the country were popping and
breaking. Crews sprung up everywhere and competed in talent shows, performed at parties, and
entertained on street corners in every state. It was only natural that these crews and individuals
would showcase superiority of their craft to one another. It did not take long for ―battling‖ to
begin.14
“…Slim was fresh yo, when she was underground,
Original, pure untampered and down sister,
Boy I tell ya, I miss her”15
The ―battle‖ was a warrior type sport. Dancers, MCs, and DJs would challenge each
other for bragging rights over who was the best at their craft. For dancers, there were
competitions for breakers, poppers, lockers, and crews all over the world. In the U.S., there are
still a few big competitions but they are mostly qualifier events for the big world competitions
held across the Atlantic. True appreciation for the arts of hip-hop, rapping, breaking, and
popping are celebrated more impressively outside of the country that gave birth to these art
forms. ―The Red Bull BC One Battles‖ boasts to have ―The world's best 16 B-Boys competing in
1-on-1 Battles.‖ In its six years of existence, the competition has only been held in the U.S. once,
the last year in 2009. Interestingly enough, the competition has only been won by Americans
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twice, once in 2004 and again in 2007.16 The ―Battle of the Year‖ and The ―Sony Ericsson U.K.
B-Boy Championship World Series‖ are the other major B-Boy events held around the world.
The ―Battle of the Year‖ began in 1990 in Hanover, Germany as a competition for crews. B-Boy
crews from around the world travel to Europe for this event and to this date there has never been
an American crew crowned champion.17 The ―Sony Ericsson U.K. B-Boy Championship World
Series‖ appears to be the biggest spectacle of these competitions. Ironically, all of these
competitions have been hosted by American hip-hop icons like Afrika Islam, KRS-One, and BBoy legend, Crazy Legs, of New York City‘s legendary Rock Steady Crew.
DJing also enjoys a famed competition that dates back to 1985. The ―DMC World DJ
Championships‖ has been held in London, England since its inception. There are qualifiers in
countries all over the world, including the U.S., and the winning contestants converge on London
to crown a world champion. It appears the appreciation for these art forms, DJing and
breakdancing, are greater outside the U.S. considering there are no world events or competitions,
with the exception of the ―Red Bull BC One Battles,‖ are held here; yet entertainment for these
events are often headlined by American hip-hop artists. Indeed, the culture is alive and well in
the UK. There are no world rap competitions.18
In rap, MCs would battle over whose rhyming skills were better and the neighborhoods
from which they came. A young MC named MC Shan became the first to ―represent‖ his
neighborhood with the release of the song, ―The Bridge,‖ an ode to the Queens borough Bridge
and the borough of Queens itself. Soon after, the rap group Boogie Down Productions (BDP),
released a response to that record with their song, ―South Bronx,‖ a song that highlighted the
birthplace of hip-hop. Shan then released ―Kill That Noise,‖ accusing Boogie Down Productions
of whining and talking smack. It is known as the first real rap battle and made the practice very
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popular. The battle quietly faded after BDP fired back with ―The Bridge Is Over‖ a ―diss‖
(insult) record recorded to discredit Queens and all of its inhabitants. BDP was recognized as the
winner of the ―feud.‖ Battling in rap goes on to this day.
Rap battles are quite common in rap and have long been a staple for honing a rapper‘s
skills. The Black Entertainment Television (BET) program 106 and Park airs a segment every
Friday called, ―Freestyle Friday,‖ that features two unknown rappers in a war of words. Each
contestant is required to quickly think up rhymes on the spot for 30 seconds. These quick
thinking rhymes are called ―freestyles‖ because the rhymes are not preplanned. The show is
done in the same fashion as the rap battles seen in the motion picture 8 Mile. Rappers also
battled in the more traditional form of the answer record. This had been used by pop recording
artist since the 1960‘s. An artist would record a song about someone or something and shortly
after its release another artist would release a response record. One of the most famous rap
recordings and rap answer recordings is ―Roxanne, Roxanne‖ by UTFO which was answered by
―The Real Roxanne‖ by Roxanne Shante. After their success, answer records became all the
rage and answer records were coming out for songs that did not really need a reply. These songs
were entertaining; almost like a soap opera set to music. Sometimes, however, these records
caused personal feuds among artists. These types of recordings can be found in every genre rap.
By 1983, Run-DMC, rap‘s ―supergroup,‖ hit the music scene hard and fast with their
release, ―It's Like That"/"Sucker M.C.'s.‖ Their overlapping vocals and style of finishing each
other‘s rhyme became a huge hit bringing attention to rap music nationwide. Their style brought
mass appeal to rap and Run-DMC spent several years as the premier group in the industry, but it
would not be long before a new rap genre would begin making its way into the forefront and gain
the nation‘s attention.19 Rap evolved rapidly after this and soon transmuted into what Chuck D
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of Public Enemy called, ―The CNN of the inner city.‖ Songs about urban life and its many
struggles began to make themselves heard on the streets and on the radio. Grand Master Flash
and the Furious Five released ―The Message‖ in the previous year which paved the way for the
―conscious-teacher‖ form of rap.20
“…Out goes the weave, In goes the braids, beads, medallions,
She was on that tip about stoppin‟ the violence
About my people she was teachin‟ me
But not preachin‟ to me but speakin‟ to me
In a method that was leisurely…”21
By the mid 1980s, rap became more vocally rebellious against what it felt was a racist
and oppressive society. Rap groups provided a forum urging blacks and other minorities to rise
up, educate themselves, and change the system. Groups like Public Enemy, X-Clan, KMD, and
Brand Nubian along with BDP were very well known for their positive, although sometimes
militant, motivation for education and social change. Everywhere an afrocentric feel engulfed
hip-hop with self awareness and the study of history becoming an integral part of the music.
―It seems to me that in a school that‘s ebony,
African history should be pumped up steadily
but it‘s not,…Insulting to a black mentality,
a black way of life or a jet black family,
so I conclude with one concern, that you must learn‖.22
Boogie Down Productions, ―You Must Learn,‖
Ghetto Music: The Blueprint of Hip-Hop
―…The lethal weapon‘s my mind…Go to the library, get some
more ammo you know what I‘m sayin‘‖.23
-
Ice-T, ―The Lethal Weapon,‖ The
Iceberg/Freedom of Speech
10
―…What we need is awareness, we can‘t get careless
You say what is this?
My beloved let‘s get down to business,
Mental self defensive fitness…
‘Cause I‘m Black and I‘m proud
I‘m ready and hyped plus I‘m amped
Most of my heroes don‘t appear on no stamp…‖24
-
Public Enemy, ―Fight the Power,‖ Fear of a
Black Planet
Throughout the mid-1980s, rap music became more and more widespread; it could be
heard on the radio and the artists could be seen on various types of television programs.
“But then she broke to the West coast…
So why should I stand in her way?
She probably get her money in L.A.
And she did stud, she got big pub (publicity)….”25
But on the west coast, some rappers were starting to feel left out. They understood the gritty
stories about New York street life but in Los Angeles, gang life was much different than in the
Big Apple. They felt rap did not represent their L.A. experience very well. Thus, active and
former gang members began to rap and record songs dealing with the life of a ―gangsta‖ and yet
another genre was born known as ―Gangsta Rap.‖ This form remained underground for a while
until 1987 when former Crip gang member Ice-T, recorded and released the album ―Rhyme
Pays.‖ Chock full of violence, street tales, and offensive language, these songs did not
necessarily represent a part of the listener‘s day-to-day reality, but served well as street life
fantasy with an appeal reminiscent of watching an old ―Shaft‖ movie. Strangely, you did not
have to be a ―banger‖ (gang member) to relate to these songs. The album, ―Rhyme Pays,‖ gave
rap what is still considered by many to be the gangsta rap anthem. ―6 In Tha Mornin‘‖ was
basically a song that depicted a day in life of an L.A. gang member.
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―6 in tha mornin‘ police at my door,
Fresh Adidas squeak across the bathroom floor…
…Looked in the mirror what did we see?
F---' blue lights L.A.P.D.
Pigs searched our car, their day was made
Found a Uzi, four and a handgranade…‖26
-
Ice-T, ―6 In Tha Mornin‘,‖ Rhyme Pays
Controversial as he was, Ice-T still tried to inject some positivity in his lyrics. Quite
often the characters referenced in his songs would wind up on the wrong side of the law either
going to prison or dying; there was almost always a moral to the story.
―… Now I'm in the penzo (penitentiary) chillin' like a real pro
I can't move until the man says go
A puppet of the big game, an institutional thing
I wouldn't be here if I fed my brain
Got knowledge from school books, instead of street crooks
Now all I get is penitentiary hard looks…‖27
- Ice-T, ―Drama,‖ Power
At the same time that ―6 In Tha Mornin‘‖ was released, the Hollywood movie Colors
introduced the nation to what gangsta rap and gangbanging in Los Angeles was all about. The
movie, about two East L.A. police officers trying to survive gang infested neighborhoods, gave a
visual picture to the songs everyone was listening to on the radio. ―Gangsta fever‖ quickly set in
and anything gang related could be seen on nightly news reports, and in newspapers and
magazines. The gangsta lifestyle was thrust into the media spotlight making the genre even more
popular, and with it, gangstas from all over L.A. began recording songs. The mega popular and
notorious group, NWA, emerged on the scene and bum-rushed gangsta rap in the forefront of the
rap genres. With their song, ―F--- Tha Police,‖ the group gained notoriety without radio play.
The popularity of that song rang well with many young adults and youths throughout inner-city
neighborhoods all over the country. However, the rising popularity of gangsta rap and its tales of
12
violence, drug dealing, and drug usage began to resonate with many other young people all
across the country who began to emulate the tales they were hearing. The rap songs filled with
positivity and the call for social change were starting to be muffled by these tantrums of
aggression.
“…But what was foul,
She said that the pro-black was going out of style
She said, afrocentricity was of the past…”28
The rise of crack cocaine in the 1980s was another major force impacting rap. The use of
crack spread so quickly that many police forces had no idea how to deal with the epidemic or the
young people involved in the trade. Consequently, everyone became a suspect. It was not
unusual for a black man or black woman to be pulled over and searched by the police for little or
no reason at all. For an officer to pull your vehicle over, search it and your person, run your
plates and license, and then release you without a ticket, warning, or even an apology was not
uncommon and very humiliating. I experienced this event a few times myself. Ice Cube and his
fellow N.W.A. members expressed the frustration that many young minorities felt about this
subject in their music:
F---‘ wit me ‗cause I‘m a teenager
Wit a little bit of gold and a pager.
Searchin‘ my car lookin‘ for the product (drugs)
Thinkin‘ every nigga is sellin‘ narcotics.29
-
N.W.A., ―F--- Tha Police,‖ Straight Outta
Compton
Even though swept up in the trauma of crack, gangsta rap continued to transform itself
several times. It went from depictions of the local corner street hustler, to the big weight (drug)
dealers controlling whole city blocks, to the kingpins calling the shots from their mansions in the
hills, to the retired godfather living lavishly and clubbing every night. The gangsta of today does
13
not always portray himself as directly involved in the dirty criminal business required to
maintain his lifestyle. Early videos of rap gangstas showed scenes of rappers hanging out on
street corners, presumably selling drugs, running from the police, or sitting in front of rundown
tenement apartments or homes. Spice-1‘s video for ―Welcome to the Ghetto,‖ Dr. Dre‘s
―Nuthin‘ But a G Thang,‖ and Bone Thugs n Harmony‘s ―Foe Tha Love of $‖ are good examples
of these types of videos. But it seems these individuals are now more concerned with enjoying
the fruits of their labors. As wealth became more important, it became more important to show
off those riches than to discuss the bloody details of their trade. The godfather style was joined
by the hustler who is mainly concerned with living the nightclub life, watching strippers, and
showing off as much material wealth as possible. Videos like Rick Ross‘ ―Here I Am‖, The
Notorious B.I.G.‘s ―Big Poppa‖ and ―Hypnotized‖, and Birdman‘s ―4 My Town‖ illustrate this
idea vividly. This sound dominates the radio today. Rappers like Ludacris, ‗Lil Wayne, Gucci
Maine, and Snoop Dogg are heard on every urban and pop radio station around and can been
seen on video networks from MTV to VH1 to BET.
Another possible reason for the transformation from street criminal to godfather is
gangsta rap‘s affection for the 1983 Al Pacino gangster motion picture Scarface. Oliver Stone‘s
classic story of an illegal Cuban immigrant turned underworld kingpin resonated immensely with
hip-hop, especially with the gangsta genre. These were viewers who felt as much an outcast in
their world as Pacino‘s, Tony Montana character felt like an outcast in his world. Montana
began as a nobody on the streets of Miami and rose through the ranks of Florida‘s drug
underworld, finding fame and fortune, and thusly achieving the ―American Dream.‖ This story
is basically on the wish list of every inner-city dealer and banger nationwide. Probably
everyone can quote Tony gave when asked, ―Oh well, what‘s coming to you?‖ He replied, ―The
14
world, Chico, and everything in it.‖ This ideology fueled the gangsta rap world and may also
explain one of the reasons why rap music and the hip-hop culture went from underground
phenomenon to a commercialized corporate entity.
“…I might've failed to mention that the chick was creative
But once the man got to her, he altered the native
Told her if she got an image and a gimmick
That she could make money, and she did it like a dummy…”30
MTV played a big part in rap going commercial. Although it had vowed never to play
rap when it first aired back in 1981, the huge revenues possible from rap and hip-hop were
simply too much for any business to resist for very long. By the 1990s, rap music dominated
MTV. In November 2003, financial website Motley Fool reported on the high profitability that
many companies - not just MTV- were experiencing with rappers and hip-hop images in their
advertising budgets. For example, Missy Elliott, Lil‘ Kim, 50 Cent, and Jay-Z were all involved
in big advertising deals with Gap, Old Navy and Reebok respectively.31 Right Guard had cashed
in using rappers MethodMan and RedMan, to pitch deodorant rather comically.
After Busta Rhymes released the song ―Pass The Courvoisier Part Two‖ sales for the
beverage went up 4.5 percent. The company had not asked Busta to record the song, but later
struck a promotional deal with him. Other companies like Prada, Gucci, Burberry, Belvedere
and Grey Goose Vodkas, Alize Liqueur, Hennessy Cognac, and Cristal Champagne have all
enjoyed increased revenue from the free advertising rappers have given them in their songs.
Cadillac made gains in their SUV division with some help from Ludacris who referred to the
high priced Escalade in some of his songs.32 Rappers are not just helping others make money;
they are also cashing in on their own popularity to make money themselves. Roc-A-Fella Inc.,
which is partly owned by Jay-Z, has purchased a vodka company, Armadale Vodka, and has
pitched the name in songs by Jay-Z and other Roc-A-Fella artists. Diddy sells Sean John
15
clothing while ‗Lil Jon and Nelly both own the energy drinks ―Crunk Juice‖ and ―PimpJuice‖
respectfully.33
Hip-hop, its music, its culture, and its lifestyle are being conveniently packaged and
marketed for quick sale and fast profit of products everywhere — especially in white America.
While the environment of hip-hop was created by blacks, the majority of its buying public is now
white, which tends to make one wonder who is all of this marketing aimed at. Blacks have
plenty of advertising geared specifically towards them, but when McDonald‘s, Sprite, Soft Scrub,
Pepto-Bismol, and a multitude of automakers use hip-hop to push their wares, it is safe to say
their target audience is on a much grander scale than just getting the black dollar. In a country
where blacks make up roughly 12.8 percent of the population, it would be logical to think that
the ad dollars are being used to bring in the larger demographic in the population first. Hip-hop
has even been made comedic and watered down to make it commercially acceptable to older
white adults. Rapping white grannies in the movies and hip-hop rhythms used to sell hair color
and medications have all been introduced to grab the White American dollar. Rap and Hip-hop
have grown into a multibillion-dollar business that everyone is looking to cash in on. Big
business realizes the influence that rap and hip-hop have on this generation of young people –
and even on older people - and they also know that it transcends not only race but gender also.34
“…Now I see her in commercials, she‟s universal,
She used to only swing it with the inner-city circle…”35
But these influences are not just on businesses because, like friends and family, the
music we listen to can influence the decisions we make day-to-day. We have heard it a
thousand times, ―Rappers cause teen violence; Rappers incite teen promiscuity; Rappers
encourage drug usage.‖ While the lyrics in many songs may in fact allude to these themes, the
artists themselves may not be totally to blame. True, they are the ones writing and voicing these
16
messages, but in some cases it may not be a message of their own choosing. In the artist‘s search
for money, fame, and respect, record labels force many artists to portray controversial images
and lifestyles, especially those related to the gangsta lifestyle, in order to boost sales and revenue.
According to the 2005 sales consumer profile from the Recording Industry Association of
America, rap/hip-hop music sales ranked second behind rock for that year. Since 1995, rap/hiphop is the only genre of music for which sales have been on a steady incline. Having only a
6.7% market share in ‘95, rap/hip-hop was last amongst the top 5 genres of rock, country,
R&B/urban, pop, and rap/hip-hop respectfully. Rock ruled with a 33.5% market share. By 2005,
sales in all genres had fallen except rap. Rock, still the reigning king of the genres, stayed at
number one with just a 31.5% share, down 2% while rap moved to number two with a 13.3%
share; an increase of 6.6%. This sales trend continues today, and experts say it is only a matter
of time before there is a new king in town. Rap music is a growing cash cow and record labels
are out to milk it anyway they can. Right now, sex and violence, are the top selling secret
ingredients for anything. Movies, television programs, commercials, even the Super Bowl prove
the sexiest and most violent things are the most talked about and most remembered. Record
labels also know this and they are riding the wave all the way to the bank.36
“…Talkin‟ „bout poppin‟ glocks, servin‟ rocks (drugs) and hittin‟ switches,
Now she‟s a gangsta rollin‟ with gansta bitches…”37
What‘s sad is that as rap has succeeded, it has actually failed. In the past, rappers
―…rebelled against the elite, and spoke for the masses...today I think a lot of rappers are trained
to rap for their companies,‖ says Chuck D, well known hip-hop artist and leader of the legendary
group Public Enemy during an interview on a VH1 documentary, Hip-Hop Babylon. Chuck
went on to explain how it is easy to get these artists to sign a contract and instruct them to
portray anything they want.38 It is no secret most rappers come from the inner city, a place
17
where large bank account, big cars, and fame are the dreams of many of the youth on the street.
A contract for $50,000 to $100,000 dollars would be like hitting the lottery for most of them. It
would be easy to manipulate a youngster, uneducated in the business world, to do whatever it
takes to keep those paychecks flowing.
Not everyone has joined the bandwagon. Many rap artists objected to some of the items
that black artists promoted in songs, commercials, and print ads. Furious over the marketing of
alcohol and other harmful products to the black community by popular rappers, militant problack rapper Paris vented his frustration in his song, ―40 ounces and a Fool.‖ Rapping in a tone
that some would say closely resembled the voice of gangsta rapper Snoop Dogg, he harshly
criticized artists who promote negative products to blacks.
―…With slave money from the record company I'm poppin‘
Now I'm on my way to the neighborhood liquor store
to help sell more of that bullshit to my folks…Even though I know I‘m
sellin‘ out my soul just to make a knot (money)…‖39
Paris, ―40 ounces and a Fool,‖ Guerrilla Funk
-
Still it seems like the clubbing, the women, the all night partying, and the thug/hustler
images are what kids want to see today, and record labels are more than happy to sell it them.
That puts a lot of pressure on the artist to give the label what they say the people want. Def Jam
Records President Kevin Liles states it this way:
―You sell a lot of records, I give you a lot of money. You don‘t
sell a lot; I‘ll give you the same money. But, if you don‘t sell what
we thought you were going to sell, bet you‘ll give it (the advance
money) back.‖40
―You couldn‘t get a positive rap act signed today by any (major) record company if you
held a gun to their head,‖ proclaims rap icon MC Shan. While few positive acts have been
signed to deals, their radio and television exposure is slim to none. Rap groups and individuals
18
like Talib Kweli, Mos Def, Afu-Ra, Jurassic 5, Asheru, and B.o.B. are current artists whose
albums do not resort to tales of mass gunfights and sex orgies.
―…The principles of Hip-Hop have been forsaken, it‘s all
contractual and about money making…‖41
-
The Roots, ―What They Do,‖ Illedelph
Halphlife
This line, by the rapper Black Thought of the hip-hop band The Roots, is from the song ―What
They Do.‖ The song expresses his thoughts of what has happened to the culture and the
downward turn it has taken. While some have critically acclaimed their work, and The Roots
have even won a few Grammies, none of them are household names like their more violent and
vulgar counterparts, and none of them have their kind of mass exposure either.
Lupe Fiasco, whose 2006 release, ―Food & Liquor,‖ received three Grammy nominations
including ―Best Rap Album‖ was a major success. The songs were a refreshing departure from
the usual serving of violence and sexual escapades. Instead Lupe discussed issues of single
parenthood, religion, displacement, and handling the pressures of being seen as different. Even
the title, ―Food and Liquor,‖ addressed the issue of human nature. Lupe explains:
"In Chicago, instead of having bodegas like in New York, the majority of the corner
stores are called 'Food and Liquors.' The store is where everything is at, whether it be the
wine-o hanging by the store, or us as kids going back and forth to the store to buy
something. The 'Food' is the good part and the 'Liquor' is the bad part. I try to balance out
both parts of me."42
GQ magazine voted Fiasco, Breakout Man of the Year; yet despite these accolades, Lupe has quietly
settled into the background.43
What kind of rap stays out front? It‘s the violent rap that for some reason appeals to
young people everywhere –even young people whose parents make a great deal of money. ―The
19
majority of hip-hop record buyers will never set foot on the mean streets of Brooklyn, but tales
of death, violence, and sex fuels this billion dollar business‖ narrates Q-Tip, leader of the group
―A Tribe Called Quest.‖44 Tupac Shakur‘s career is a good example of this. During his life,
Tupac had record sales of 5 million combined from all of his releases. Since his death in 1996,
he has sold over 35 million. The speedy rise of rap sales coincidentally began the same year a
highly publicized feud between Shakur and fellow rapper, The Notorious B.I.G., started and
eventually led to Shakur‘s bloody death in a shootout in Las Vegas. Chuck D feels this is
supporting evidence to, ―…The fact that black death is endorsed and marketed as being
profitable.‖45
Hip-hop has not always been this way. When it started, rap was just one form of release
for inner city youths dealing with the pressures of their living environment. The culture of hiphop was not about making money; it was a way of life. ―You were either rapping, breaking
(dancing), or DJing,‖ says early 90s rap star Kwame.46 Today, those feelings of culture seem to
have been lost or perverted. What was once a social release and artistic form of expression has
become a multi-billion dollar industry where sales figures are more important than the art it once
represented. Whenever rap music or hip-hop is mentioned, the question of its influences,
particularly on black children, is never far behind. Questions of whether or not the genre has a
negative impact on urban youth especially abound in both television newscasts and printed
articles. Perhaps that question would be better asked when put to a different community. Rap
music, while being the creation of inner city black youth, is purchased overwhelmingly by white
teens. According to Mediamark Research & Intelligence Inc. (MRI), over 60 percent of rap/hiphop sales, to buyer‘s ages 18 to 34 and all adults, in 2004 were made by white consumers. Rap
is not just a ―black thing‖ anymore and it has not been for quite some time.47
20
According to Marshall Hood, writer for the Columbus Dispatch, a survey conducted by
KRC Research revealed some 82 percent of those who responded to the survey felt that the ―hiphop-driven urban lifestyle‖ controls the fashion decisions made among all teens – but especially
white teens. Anywhere in America one can see white kids wearing clothing, listening to music,
styling their cars, and speaking slang in ways that all share their roots with inner city blacks. It is
not unusual to see white teens and young adults wearing clothing made by FUBU. The black
fashion company, whose name means ―For Us By Us,‖ is not just for us at all. ―The racial lines
have been blurred: Whites are romanticizing, emulating and adopting aspects of black popular
culture,‖ Hood tells us. He continues, ―A black kid from Harlem and a white one from New
Albany are likely to talk the same, dress alike and listen to the same music.‖48
―…'Cause Black and White kids both take shorts(cuts)
When one doesn't know about the other ones' culture
Ignorance swoops down like a vulture…‖49
-
Boogie Down Productions, ―You Must Learn,‖
Ghetto Music: The Blueprint of Hip-Hop
Why has rap become so popular among white youth? Corporate marketing and the big
profits it brings provides some clues, but not all. Black culture in rap is portrayed as a tough yet
cool lifestyle that for some reason has crossed the color line. From movies to music, the black
experience has been one of overcoming ―The Man,‖ kicking ass and not caring about taking
names. ―For people on the outside looking in, it was seen as more authentic,‖ says Chuck D of
Public Enemy fame.50 ―The Black male outlaw is a commodifiable character open to all who
would like to perform it‖, tells Carl Hancock Rux from the book, Everything But The Burden,
What White People Are Taking from Black Culture.51 From the mid to the late 90s rap, became
especially angry. Songs about drug dealing, gangbanging, and sex became the norm for the
genre. Around that same time, white kids started to really take notice of the music. ―People
21
resonate with the strong anti-oppression messages of rap, and the alienation of blacks,‖ says Ivan
Juzang of Motivational Educational Entertainment, a firm that specializes in targeting urban
youth. He goes on to say youths in general gravitate towards rebellion and it is partly seen as,
―Rebelling against parental authority.‖52
Rap also may be popular because it embraces the anger of rebellion more openly than
rock. Contemporary rock songs often sing of depression and feelings of alienation. Since the
early 1990‘s many rock songs dealt with these subjects and white kids felt like they spoke for
them. As Trent Reznor of Nine Inch Nails sings in the song ―Hurt:‖
I hurt myself today to see if I still feel.
I focus on the pain the only thing that‘s real.
The needle tears a hole the old familiar sting,
Try to kill it all away but I remember everything.
What have I become?
My sweetest friend everyone I know goes away in the end.53
-
Nine Inch Nails, ―Hurt,‖ The Downward Spiral
Rappers may feel alienated but they do not whine about it like some rockers. Rap does
not complain about being picked on. Rap gets even. Rap will not commit suicide; it will not run
away from home or overdose on crack. Rap will kick your ass and do what ever is necessary to
make sure no one ever messes with it again. Rap may even kill you if it feels it is warranted, but
it will never kill itself. Rap will do whatever it feels is necessary to survive.
―As complex as the situation gets
I remain to maintain, ain‘t that much strain
to make me twist (kill) myself like Kurt Cobain‖54
-
Tha Dogg Pound, ―Reality,‖ Dogg Food
Kurupt from the rap group Tha Dogg Pound conveys this feeling in the song ―Reality.‖ Rap, as
opposed to rock, was not going to take any crap from anyone, and that toughness began to
resonate with white teens.
22
Rock had been a rebellious voice for white youth for quite some time but rap was
something new to them. ―There‘s a vacuum in music made by white kids for white kids. White
pop and rock is fragmented into so many different strains and when that happens, black music
fills the vacuum,‖ explains Arthur Kempton, author of Boogaloo: The Quintessence of American
Popular Music.55 The tales of death and hard street life were different from the type of
disenchantment and alienation rock songs were offering, and whites began to listen with a
fascination similar to what gangstas had experienced when watching The Godfather or Scarface
movies. ―Let‘s be honest, all this fascination with hip-hop is just a cultural safari for white
people,‖ says hip-hop historian Kevin Powell.56 What is seen as the hip-hop lifestyle is a
disposable wrapper for many white teens. Among friends they can be tough, listen to R rated
music, wear fashions that resemble their newly found hard knock life, and speak a language they
would never use in front of their parents. At the end of the day, they can take it all off and return
to their safe quiet suburban lives while looking forward to another day of representin‟ tomorrow.
Greg Tate, author and reporter for The Village Voice, feels white teens act as if blackness, is ―a
performance – that you can take on the aura of the coolness of being black by impersonating the
―black way‖ of walking or talking or dancing or using slang.‖ 57
One of the sad parts about this is that white teens will deny they are emulating what they
think is black. They will say they wear this or that because they like it, or they listen to this artist
because he or she is good. While that maybe true, they often deny the influence the music makes
in those decisions. They are drawn to what they believe to be a black lifestyle yet they do not
want to acknowledge it. The ―hoodie‖ sweatshirts hanging way over the head, very low hanging
pants, known as sagging, the Timberland style boots, and even the sweats and shorts with words
tattooed across the rear were all popularized by hip-hop.
23
It is troubling how much of a masquerade many white kids have made hip-hop out to be.
White kids can be seen and heard wearing the fashions of hip-hop and speaking the language yet
degrade or mock someone black when they see him/her behave in the same manner. ―He/she is
so ghetto,‖ I have overheard groups of white students at the college I attend; only to see them
drive off in a car with 22 inch rims and a stereo system with enough bass to simulate a small
explosion while calling each other ―Dogg‖ or ―Homie‖ and sometimes even the N-word.
―…Word, what go around come around I figure
Now we got white kids callin' themselves niggas…‖58
-
KRS-One, ―MCs Act Like They Don‘t Know,‖
KRS-One
It seems as long as the genre is kept within certain boundaries, they feel they have made it
acceptable, but those who originated it, mainly black and some Latino youths, somehow
demoralize it. In many ways, white young people are beginning to think they have made hip-hop
their own and the originators have become the outsiders.
The white rapper Eminem has helped perpetuate this. Eminem raps about things that
white kids relate to. Abusive families, suicide, incest, and pill overdoses are not normal topics
for black rappers. These topics are the same ones rock and heavy metal artists have been singing
about for years. Bands like Nine Inch Nails, Bad Religion, Marilyn Manson, and Metallica have
been on the cutting edge of depression, anger, and discontent for white youth for a long time.
Eminem brings those issues to the hip-hop table and thus makes it easier for white kids to find
something they can truly relate to besides delving into fantasies of pimpin‘, mackin‘, and hustlin‘.
Because he‘s white, he has a much broader appeal than some of the more popular AfricanAmerican hip-hop artists,‖ says Tony Gray, president and CEO of Gray Communications which
assists urban radio stations identify target audiences and demographics.59 Eminem has become
24
what hip-hop is for many white youth today the same way the Beatles embodied rock and roll for
their parents and Elvis for their grandparents. Author of The Trend Commandments, Larry
Samuels feels since whites are buying more hip-hop products than blacks, an even more diverse
subgroup will emerge from the hip-hop culture. David Mays, CEO of the Source Enterprises,
says:
―The face of the demo is just as likely to be rich white kids in Des Moines, Iowa, as it is
black kids from Bedford-Stuyversant. Hip-hop is a musical and cultural force that
has crossed the boundaries.‖
Indeed, it has but at the same time, it also reveals gaps that still need to be bridged.60
Hip hop has taken many twists and turns in its 30-year journey to pop culture superiority.
Positives and negatives abound within its life span. However, if one is to seriously think about it,
what musical genre has not? The evolutions of American musical genres in the 20th Century
have all run a very similar course: First, it‘s just music, and then it‘s self and social
consciousness, after that it‘s angry, and finally it‘s overproduced, slickly packaged, and mediocre.
American rock and roll has most certainly been down this path. This list is not absolute and, of
course, there are other changes and influences along the way but this road is generally traveled
by all genres. However, the changes that rap has gone through are usually viewed by the
majority of people as a direct reflection of black culture as a whole. The question is always
asked: ―What does this music or these videos say about black people?‖ Very rarely does anyone
look at rock and say, ―What does this music or these videos say about white people?‖
While viewing some current rap videos in her Popular Culture class a student, named
Kathy Lippert, made this analogy, ―These videos are no worse than the big hair band videos of
the 80s. Everything with them was about women, sex, and drugs. It‘s all the same stuff, the
videos, the messages in the music, everything.‖ The fact is, she was right. I clearly remember
25
watching scantily clad women parading themselves around the screen with numerous white rock
bands on MTV. The old Van Halen video ―Hot For Teacher‖ immediately comes to mind.
Perhaps because rap and hip hop is the youngest of the current major music genres, the growing
pains it suffers are more visible. Or maybe the real difference is the fact that the rap artists and
their presumed listening audience are black. The antics of rock stars in both their professional
and private lives are generally viewed as the wild actions of individuals representing a particular
lifestyle of sex, drugs, and music. No one would ever say they represented white people as a
whole. Rap and hip hop artists, on the other hand, are viewed as representatives of what and
who black people, as a whole, really are. The entire white race is not seen as a society of
drunken drug users or sexual deviants because of the actions of Seether, Slipknot, Motley Crue,
or Ozzy Osbourne; yet the actions of Ludacris, Snoop Dogg, and ‗Lil Wayne, seem to be viewed
as representations of what all black people think and do. Did anyone question the example that
Kurt Cobain or Michael Hutchence, former lead singers of rock groups Nirvana and INXS, may
have set when they killed themselves; especially since whites are twice as likely to commit
suicide than any non-white ethnic group?61
The answer to that question is, ―No.‖ If a white man is successful, he is viewed as a man
who made things happen; if he fails, he is still an individual who did not get the job done. If a
black man is successful, he is viewed as a credit to his race and a rare representative of his
people. As if he was an exception to the rule. If he does not succeed, no one is surprised; he is
placed back into the box of more proof that blacks have a hard time achieving and furthering the
question of what that says about black America. The actions of black Americans are not seen as
the actions of individuals like the actions of white Americans are.
26
Perhaps the questions that rap raises about race issues go even deeper. The real problem
could be that white America has always determined for itself what it means to be black. From
stage performances of whites in blackface, best represented by the ―coon‖ characters in the silent
and early talking films to J.J. Evans, the character from the 70s television show Good Times,
black life has always been visualized the way whites have thought it to be. Sitcom genius
Norman Lear created the very popular television shows Good Times, The Jeffersons, and Sanford
and Son based on what he and his writing staff thought black life was like. Lear‘s program,
Good Times, was originally heralded as a humorous champion for the underclass but soon
became a showcase for the buffoonish J.J. character. Instead of tackling pertinent social issues
and showcasing the strength of family perseverance, Good Times moved toward highlighting
J.J.‘s minstrel type antics. This move toward stereotypical programming was the number one
reason for the exit of lead actors John Amos and Esther Rolle who played parents James and
Florida Evans on the show; said Rolle of their departure, "We had lost the essence of the show."
Good Times and shows like it came to be the visual representation of black society for
many white and even blacks. They had become such a standard that some blacks took issue with
the depiction of black family life on The Cosby Show. Created by Bill Cosby in 1984, the show
depicted an upper middle-class family in New York City with both parents working as successful
professionals, and five seemingly well adjusted children. Cosby‘s angle set out to show that the
majority of black families were not impoverished, single parent dwellings barely making ends
meet; he showed that blacks can and are living decent and successful lives too. He put a human
spin on black life that is often not depicted on television to the rest of America. With the show‘s
success, more programs depicting blacks living the ―nuclear family‖ life began to spring up.
Family Matters, The Fresh Prince of Bel-Aire, Living Single (which many argue is the
27
inspiration for the creation of the super hit show Friends), and A Different World, a show set on a
fictional historically black college campus, all ushered in a new choice of television viewing for
blacks; although the shows did not come without its own share of controversies.62
“…Stressin‟ how hardcore and real she is,
She was really the realest, before she got into show-biz…”63
Many blacks criticized these shows for not being ―black enough.‖ Meaning, they felt the
show did not deal with what they felt were the lingering issues of racism and poverty. Perhaps it
was more of an issue with the depictions of success. For some black people, overcoming
oppression and survival of tough times are badges of honor. Perhaps the idea of embracing the
Cosby lifestyle as achievable was viewed as giving up some of that strength. Often, blacks that
become successful are viewed as leaving the community or forgetting their roots.
This feeling also haunts rap music. The idea of ―keeping it real‖ has come to mean in rap
that before a rapper can become popular, he or she must prove how ―street‖ he/she really is. A
rapper who does not come from an impoverished background or have a criminal record is not as
readily received as one who does. This becomes even more important considering the implied
criminal activity many artists bolster in their songs; further fueling the idea that artists need to
portray negative images in order to find success. This is not always the case; there are a few
instances where the lack of a troubled past has not hampered an artist‘s ability to gain notoriety.
The up and coming rapper/singer, Drake, has a successful acting career under his belt and a very
stable family upbringing. The only blemish in his past is the fact that he never graduated from
high school. However, even Drake seems to use that fact to help establish his ―street
credibility.‖64
―…I ain't never graduated I ain't got no cap and gown…‖65
-
Drake, ―4 My Town (Play Ball),‖ Priceless
28
Gangsta turned drug kingpin rapper Rick Ross has promoted a persona that would have
his listeners believe he rose from the mean street gangs of Miami, Florida to a cocaine sales
sponsored multimillion dollar lifestyle. However, in April of 2008, a sworn deposition by Miami
Beach police officer, Rey Hernandez, reported that Ross, whose real name is William Leonard
Roberts II, has no affiliation to any known crime organizations in Florida.66 Later, in July of the
same year, it was proven that Roberts/Ross was actually employed as a prison corrections officer
for the State of Florida from 1995 to 1997.67 This is a direct contradiction to the life Ross
claimed to have lived. In fact, Ross took his name from an actual drug kingpin named
―Freeway‖ Ricky Ross who received a life sentence for spearheading cocaine and drug
operations that commanded revenues of over 2 million dollars per day at its height. Assuming
the identity of a drug lord and promoting his lifestyle and antics through his music, Roberts/Ross
has sold thousands of records and made millions of dollars.68
These dual identities that artists portray in order to sell records have served to confuse
their listening audience. Many prominent rappers have college degrees. A YouTube broadcast
of a Tavis Smiley radio show segment reveals several artists who depict a thug/gangsta lifestyle
hold college degrees. For instance, the rapper Plies, who describes himself as a ―goon,‖ has a
degree in nursing from the University of Miami. The fact that these artists are educated
somehow diminishes their appeal as a rapper and causes them to misrepresent themselves in the
media. Without these facts, whites are free to determine for themselves what it is to be black.
Sadly, they feel their determinations are correct. At the same time, black youth are confused
about what it means to be black as well.69
In the end, its best to remember that hip-hop and rap music is for everyone to enjoy. It
embraces elements from all music and combines them into a unique musical and fashion
29
experience that at one time screamed of originality. That originality is still around. There is an
underground movement coming, one looking to return rap to its near original form, an effort to
return it to the form of the teacher, informer, and provider of motivation. Groups and individuals
like The Roots, Common, Dilated Peoples, Strange Fruit Project, Murs, KRS-One, and others.
This movement could once again bring rap back to its ―perfect beat‖.
“…She‟s just not the same lettin‟ all these groupies do her.
I see niggaz slammin‟ her, and takin‟ her to the sewer.
But I‟ma take her back hopin‟ that the shit stop,
„cause who I‟m talkin‟ „bout y‟all is hip-hop”70
The rapper Common speaks of hip-hop as a young lady he met when he was a youngster.
He tells of how ―she‖ spoke to him about the society and the world in a manner he could relate.
They grew together and he sadly watched as she left him to find herself. He speaks of her birth
on the east coast and her migration to west and the changes she made to herself along the way.
He explains the way she made both good and bad decisions with her life and how she has been
manipulated and abused, only to later reveal how much he wants to save her and return her to her
dignity. Throughout the song he explains why he used to love ―Hearing Every Rhyme‖ and one
day he will again. I understand what he means because I, too, love H.E.R.
30
End Notes
1
Jr., Lonnie Rashid Lynn. "I Used to Love H.E.R." in Resurrection: Relativity Records, 1994.
2
Anson, Robert Sam. "Birth of an MTV Nation." Vanity Fair, November 2000.
3
Run-DMC Full Biography New York City: MTV Networks, 2010, accessed April 18 2010; Available from
http://www.mtv.com/music/artist/run_dmc/artist.jhtml.
4
YO! MTV Raps 20th Anniversary | About New York City: MTV Networks, 2010, accessed April 18 2010;
Available from http://www.mtv.com/music/yo_mtv_raps/about.jhtml.
5
Bush, David. "Hip-Hopology." ed. William White. Toledo: Owens Community College, 2004.
6
Jr., Lonnie Rashid Lynn. "I Used to Love H.E.R." In Resurrection: Relativity Records, 1994.
7
Ibid.
8
Marlow, Curtis. Breakdancing. Cresskill: Sharon Publications Inc., 1984.
9
Glover, Joseph Saddler and Melvin. "Girls Love the Way He Spins." In They Said It Couldn't Be Done Elektra
Records, 1985.
10
Smith, James Todd. "Rock the Bells." In Radio: Def Jam, Columbia, 1985.
11
McDaniels, Joseph Simmons and Darryl. "Peter Piper." In Raising Hell: Profile/Arista Records, 1986.
12
Marlow, Curtis, Breakdancing
13
B-Boying (Breaking) accessed April 16 2010; Available from
https://www.msu.edu/~okumurak/styles/breaking.html.
14
Locking and Popping (Electric Boogie) accessed April 16 2010; Available from
https://www.msu.edu/~okumurak/styles/pop.html.
15
Jr., Lonnie Rashid Lynn. "I Used to Love H.E.R." In Resurrection: Relativity Records, 1994.
16
Red Bull BC One Red Bull, 2010, accessed April 22 2010; Available from http://www.redbullbcone.com/.
17
Battle of the Year Six Step GmbH, 2010, accessed April 20 2010; Available from http://www.battleoftheyear.net/.
18
DMC World DJ Championships 2010, accessed April 22 2010; Available from
http://www.dmcdjchamps.com/default.asp.
19
Run-DMC Full Biography New York City: MTV Networks, 2010, accessed April 18 2010; Available from
http://www.mtv.com/music/artist/run_dmc/artist.jhtml.
20
Moll, George. "Hip-Hop Babylon." In Hip-Hop Babylon, ed. George Moll, 2 hours. United States, 2003.
21
Jr., Lonnie Rashid Lynn. "I Used to Love H.E.R." In Resurrection: Relativity Records, 1994.
22
Parker, Lawrence. "You Must Learn." In Ghetto Music: The Blueprint of Hip Hop: Jive Records, 1989.
23
Morrow, Tracy. "The Lethal Weapon." In The Iceberg/Freedom of Speech: Warner Brothers Records, 1989.
31
24
Ridenhour, Carlton Douglas. "Fight the Power." In Fear of a Black Planet: Def Jam/Columbia, 1989.
25
Jr., Lonnie Rashid Lynn. "I Used to Love H.E.R." In Resurrection: Relativity Records, 1994.
26
Morrow, Tracy. "6 in Tha Mornin'." In Rhyme Pays: Sire/Warner Bros. Records, 1987.
27
Morrow, Tracy. "Drama." In Power: Sire/Warner Bros. Records, 1988.
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34