{"id":41,"date":"2019-12-15T17:39:44","date_gmt":"2019-12-15T22:39:44","guid":{"rendered":"http:\/\/commons.trincoll.edu\/justinsite\/?p=41"},"modified":"2019-12-15T19:35:44","modified_gmt":"2019-12-16T00:35:44","slug":"hip-hop-made-the-label-the-label-never-made-hip-hop","status":"publish","type":"post","link":"https:\/\/commons.trincoll.edu\/justinsite\/2019\/12\/15\/hip-hop-made-the-label-the-label-never-made-hip-hop\/","title":{"rendered":"Hip Hop Made the Label, the Label Never Made Hip Hop"},"content":{"rendered":"<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0If someone said that hip hop was conceived after the creation of Def Jam Recordings, or that popular music genre was birthed as Biggie and Tupac came onto the music scene, they would be incorrect. Hip hop was actually born and bred in the Bronx due to sustained benign neglect from the state and federal government. Communities and citizens of the Bronx struggled to flourish, hamstrung by gang violence, lack of infrastructure, and impoverishment. Hip hop uplifted citizens of the Bronx from this destitution by giving them a voice and an outlet for creativity unprecedented at the time. Shaped in block parties and rec room bashes, hip hop became a culture promoting non-violence and providing a distraction from the less than ideal circumstances to which the Bronx community had become accustomed. After the release of \u201cRapper\u2019s Delight\u201d by Sugarhill Gang, hip hop was, for the first time, pushed into the mainstream spotlight. The newly discovered music genre gained popularity all over the US and grew to become a voice for the marginalized black race. Male and female creators entered the world of hip hop to perfect the blueprints laid down by the craft\u2019s originators and greatly expand its audience. Hip hop culture is now seen and heard everywhere, whether it is 21 Savage scoring a spot on the cover of \u201cForbes\u201d or the NFL hiring Jay-Z\u2019s entertainment agency, Roc Nation, the culture has been taken to other levels &#8211; not all favorable. <div class='sangar-slider-31 mobile-full-content-box' style='width: 800px;height: 500px;max-width: 100%;position: relative;margin-left: auto;margin-right: auto;display: block;'><div class='sangar-content' style='display:none;'><img width=\"960\" height=\"1120\" src=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/21-Savage.jpg\" class=\"attachment-full size-full\" alt=\"21 Savage\" loading=\"lazy\" srcset=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/21-Savage.jpg 960w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/21-Savage-257x300.jpg 257w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/21-Savage-768x896.jpg 768w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/21-Savage-878x1024.jpg 878w\" sizes=\"(max-width: 960px) 100vw, 960px\" \/><div class='sangar-textbox ' data-anim-enable='desktop' data-anim-type='transition.slideUpIn' data-anim-duration='1000' data-anim-stagger='600'><div class='sangar-textbox-inner sangar-position-center'><div class='sangar-textbox-content' style='width:66.666666666667%;background:url(https:\/\/commons.trincoll.edu\/justinsite\/wp-content\/plugins\/sangar-slider-lite\/sangar-core\/assets\/images\/transparent\/black.png) repeat scroll 0% 0% transparent;padding:3.5em 3.5em;display:block;'><div class='sangar-textbox-title' style='text-align:left;'><p class='sangar-slide-title' style='color:#ffffff;font-size:3.5em;font-family:;'>21 Savage<\/p><\/div><div class='sangar-textbox-description' style='text-align:left;'><div style='color:#ffffff;font-size:1.4em;font-family:;'><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"sangar-slider-loading\" style=\"display:block;position:absolute;width:100%;height:100%;z-index:99;top:0px;left:0px;\" ><div><span id=\"span_1\"><\/span><span id=\"span_2\"><\/span><span id=\"span_3\"><\/span><\/div><\/div><\/div><\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0Over time, hip hop\u2019s core elements have been diminished, even forgotten, drowned by the rap music deluge, but the revitalization of hip hop through new styles of rap and the ability to self-brand have led to the rebirth of hip hop music more meaningful to its core and allowed artists to gain greater creative independence.<\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0Originally, hip hop culture encompassed four elements of expression &#8211; breaking, DJ-ing, graffiti, and rapping, but as the culture transcended the block party scene, rap became dominant. In its purest form, a hip hop party or performance would consist of an impressive sound system headed by a DJ who would proudly relay music to the audience. The crowd would fill the location and breakdance in response to the DJ\u2019s musical selection, giving the spotlight to the b-boys who would show off their unique styles. As DJ-ing evolved and techniques like scratching were invented, \u201ccrowds cared less about speaker size than showmanship and style\u201d (Chang 114). Hip hop shows in the Bronx were an exhilarating experience in which the DJ and his listeners would engage in a performance that required all to participate. <div class='sangar-slider-33 mobile-full-content-box' style='width: 800px;height: 500px;max-width: 100%;position: relative;margin-left: auto;margin-right: auto;display: block;'><div class='sangar-content' style='display:none;'><img width=\"652\" height=\"390\" src=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Block-Party-2.jpg\" class=\"attachment-full size-full\" alt=\"Master of Ceremonies\" loading=\"lazy\" srcset=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Block-Party-2.jpg 652w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Block-Party-2-300x179.jpg 300w\" sizes=\"(max-width: 652px) 100vw, 652px\" \/><div class='sangar-textbox ' data-anim-enable='desktop' data-anim-type='transition.slideDownIn' data-anim-duration='1000' data-anim-stagger='600'><div class='sangar-textbox-inner sangar-position-center'><div class='sangar-textbox-content' style='width:66.666666666667%;background:url(https:\/\/commons.trincoll.edu\/justinsite\/wp-content\/plugins\/sangar-slider-lite\/sangar-core\/assets\/images\/transparent\/black.png) repeat scroll 0% 0% transparent;padding:3.5em 3.5em;display:block;'><div class='sangar-textbox-title' style='text-align:left;'><p class='sangar-slide-title' style='color:#ffffff;font-size:3.5em;font-family:;'>Master of Ceremonies<\/p><\/div><div class='sangar-textbox-description' style='text-align:left;'><div style='color:#ffffff;font-size:1.4em;font-family:;'><\/div><\/div><\/div><\/div><\/div><\/div><div class='sangar-content' style='display:none;'><img width=\"624\" height=\"351\" src=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Block-Party-3.jpg\" class=\"attachment-full size-full\" alt=\"Breaking\" loading=\"lazy\" srcset=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Block-Party-3.jpg 624w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Block-Party-3-300x169.jpg 300w\" sizes=\"(max-width: 624px) 100vw, 624px\" \/><div class='sangar-textbox ' data-anim-enable='desktop' data-anim-type='transition.slideDownIn' data-anim-duration='1000' data-anim-stagger='600'><div class='sangar-textbox-inner sangar-position-center'><div class='sangar-textbox-content' style='width:66.666666666667%;background:url(https:\/\/commons.trincoll.edu\/justinsite\/wp-content\/plugins\/sangar-slider-lite\/sangar-core\/assets\/images\/transparent\/black.png) repeat scroll 0% 0% transparent;padding:3.5em 3.5em;display:block;'><div class='sangar-textbox-title' style='text-align:left;'><p class='sangar-slide-title' style='color:#ffffff;font-size:3.5em;font-family:;'>Breaking<\/p><\/div><div class='sangar-textbox-description' style='text-align:left;'><div style='color:#ffffff;font-size:1.4em;font-family:;'><\/div><\/div><\/div><\/div><\/div><\/div><div class='sangar-content' style='display:none;'><img width=\"1941\" height=\"1080\" src=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/masterofceremonies.jpg\" class=\"attachment-full size-full\" alt=\"Atmosphere\" loading=\"lazy\" srcset=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/masterofceremonies.jpg 1941w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/masterofceremonies-300x167.jpg 300w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/masterofceremonies-768x427.jpg 768w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/masterofceremonies-1024x570.jpg 1024w\" sizes=\"(max-width: 1941px) 100vw, 1941px\" \/><div class='sangar-textbox ' data-anim-enable='desktop' data-anim-type='transition.slideDownIn' data-anim-duration='1000' data-anim-stagger='600'><div class='sangar-textbox-inner sangar-position-left'><div class='sangar-textbox-content' style='width:66.666666666667%;background:url(https:\/\/commons.trincoll.edu\/justinsite\/wp-content\/plugins\/sangar-slider-lite\/sangar-core\/assets\/images\/transparent\/black.png) repeat scroll 0% 0% transparent;padding:3.5em 3.5em;display:block;'><div class='sangar-textbox-title' style='text-align:left;'><p class='sangar-slide-title' style='color:#ffffff;font-size:3.5em;font-family:;'>Atmosphere<\/p><\/div><div class='sangar-textbox-description' style='text-align:left;'><div style='color:#ffffff;font-size:1.4em;font-family:;'><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"sangar-slider-loading\" style=\"display:block;position:absolute;width:100%;height:100%;z-index:99;top:0px;left:0px;\" ><div><span id=\"span_1\"><\/span><span id=\"span_2\"><\/span><span id=\"span_3\"><\/span><\/div><\/div><\/div><\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0In 1979, the Sugarhill Gang\u2019s release of \u201cRapper\u2019s Delight\u201d, presented Bronx hip hop to the world, but fundamentally changed its perception. The Sugarhill Gang became the cover boys of hip hop after their song went viral, yet they knew nothing of the Bronx and never performed with a DJ. The world perceived hip hop as a rapper\u2019s art form that presented catchy phrases and slang that was insular to the culture created in the south Bronx, highlighting the DJ\u2019s scratching and mixing skills for the audience. The scratching and DJ-ing skills that used to capture the ears of the audience became appreciated only when a rapper would point attention to the DJ. \n<!-- iframe plugin v.4.5 wordpress.org\/plugins\/iframe\/ -->\n<iframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vwYNZRecEl4\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" 0=\"allowfullscreen\" scrolling=\"yes\" class=\"iframe-class\"><\/iframe>\n<\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0Hip hop\u2019s exposure to the limelight drastically changed the atmospheric party-going experience to a passive appreciation of rappers, which subsequently, pushed DJs to the background of performances and relegated b-boys to the underground hip hop scene.<br \/>\nThe artwork of hip hop, graffiti, similarly declined. By the 1970s, most Bronx youth had joined gangs for the sense of belonging it gave them, coupled with the threat of being harassed by the gangs if they did not participate. Blade recalls that \u201cwhile all of those morons were out there blastin\u2019 each other\u2019s heads off, the rest of us were out there painting and having a good time\u201d (Fricke 8). Graffiti became an escape for children seeking to avoid dangerous gang warfare and interested in a unique opportunity for creative expression in a place that offered little. In the Bronx, there were not many places where children could graffiti, so they began to explore New York and express themselves wherever they could. <div class='sangar-slider-37 mobile-full-content-box' style='width: 800px;height: 500px;max-width: 100%;position: relative;margin-left: auto;margin-right: auto;display: block;'><div class='sangar-content' style='display:none;'><img width=\"600\" height=\"396\" src=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Graffiti-1.jpg\" class=\"attachment-full size-full\" alt=\"Everywhere\" loading=\"lazy\" srcset=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Graffiti-1.jpg 600w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Graffiti-1-300x198.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><div class='sangar-textbox ' data-anim-enable='desktop' data-anim-type='transition.slideDownIn' data-anim-duration='1000' data-anim-stagger='600'><div class='sangar-textbox-inner sangar-position-center'><div class='sangar-textbox-content' style='width:66.666666666667%;background:url(https:\/\/commons.trincoll.edu\/justinsite\/wp-content\/plugins\/sangar-slider-lite\/sangar-core\/assets\/images\/transparent\/black.png) repeat scroll 0% 0% transparent;padding:3.5em 3.5em;display:block;'><div class='sangar-textbox-title' style='text-align:left;'><p class='sangar-slide-title' style='color:#ffffff;font-size:3.5em;font-family:;'>Everywhere<\/p><\/div><div class='sangar-textbox-description' style='text-align:left;'><div style='color:#ffffff;font-size:1.4em;font-family:;'><\/div><\/div><\/div><\/div><\/div><\/div><div class='sangar-content' style='display:none;'><img width=\"2900\" height=\"1917\" src=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Graffiti-2.jpg\" class=\"attachment-full size-full\" alt=\"Inside\" loading=\"lazy\" srcset=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Graffiti-2.jpg 2900w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Graffiti-2-300x198.jpg 300w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Graffiti-2-768x508.jpg 768w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/Graffiti-2-1024x677.jpg 1024w\" sizes=\"(max-width: 2900px) 100vw, 2900px\" \/><div class='sangar-textbox ' data-anim-enable='desktop' data-anim-type='transition.slideDownIn' data-anim-duration='1000' data-anim-stagger='600'><div class='sangar-textbox-inner sangar-position-center'><div class='sangar-textbox-content' style='width:66.666666666667%;background:url(https:\/\/commons.trincoll.edu\/justinsite\/wp-content\/plugins\/sangar-slider-lite\/sangar-core\/assets\/images\/transparent\/black.png) repeat scroll 0% 0% transparent;padding:3.5em 3.5em;display:block;'><div class='sangar-textbox-title' style='text-align:left;'><p class='sangar-slide-title' style='color:#ffffff;font-size:3.5em;font-family:;'>Inside<\/p><\/div><div class='sangar-textbox-description' style='text-align:left;'><div style='color:#ffffff;font-size:1.4em;font-family:;'><\/div><\/div><\/div><\/div><\/div><\/div><div class='sangar-content' style='display:none;'><img width=\"1024\" height=\"768\" src=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/graffiti-3.jpg\" class=\"attachment-full size-full\" alt=\"Outside\" loading=\"lazy\" srcset=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/graffiti-3.jpg 1024w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/graffiti-3-300x225.jpg 300w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/graffiti-3-768x576.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><div class='sangar-textbox ' data-anim-enable='desktop' data-anim-type='transition.slideDownIn' data-anim-duration='1000' data-anim-stagger='600'><div class='sangar-textbox-inner sangar-position-center'><div class='sangar-textbox-content' style='width:66.666666666667%;background:url(https:\/\/commons.trincoll.edu\/justinsite\/wp-content\/plugins\/sangar-slider-lite\/sangar-core\/assets\/images\/transparent\/black.png) repeat scroll 0% 0% transparent;padding:3.5em 3.5em;display:block;'><div class='sangar-textbox-title' style='text-align:left;'><p class='sangar-slide-title' style='color:#ffffff;font-size:3.5em;font-family:;'>Outside<\/p><\/div><div class='sangar-textbox-description' style='text-align:left;'><div style='color:#ffffff;font-size:1.4em;font-family:;'><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"sangar-slider-loading\" style=\"display:block;position:absolute;width:100%;height:100%;z-index:99;top:0px;left:0px;\" ><div><span id=\"span_1\"><\/span><span id=\"span_2\"><\/span><span id=\"span_3\"><\/span><\/div><\/div><\/div><\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0Then New York mayor, Ed Koch, deemed the graffiti around the city and, specifically, the graffiti on subway cars, as a form of vandalism and delinquency. He deployed \u201cThe Great White Fleet,\u201d responsible for removing all existing graffiti from subway cars and the city, and setting up barriers to eliminate places where graffiti artists could express themselves. Kids who were part of the Bronx hip hop culture did not graffiti to engage in criminalism; they viewed graffiti as an opportunity to express themselves freely. Mayor Koch effectively took away the only canvases graffiti artists had, which forcefully pushed graffiti underground. As a result of graffiti being criminalized and pushed to the background along with DJing and b-boying, the possibility of the four core elements of hip hop being represented as originally intended was precluded.<\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0More broadly, the emergence of rap suppressed the underlying cultural message that was synonymous with hip hop. DJ Kool Herc, one of the originators of hip hop, was well known throughout the Bronx for the diverse music selection and the powerful sound system he provided at block parties. Herc was adamant about enforcing a non-violence policy at his appearances due to the threat of gang conflict breaking out. Herc accumulated a large following; word of his talents traveled; and he was able to drive from party to party, set up his operation, and get paid. He remembers the hustlers, high rollers, and bank robbers saying, \u201cThe reputation was, \u2018Who is making money up in the Bronx? Kool Herc and the guy Coke La Rock with the music\u2019\u201d (Chang 82). Once Herc showed the community that being a gang member and inciting violence was not the only way to make money and be relevant, people\u2019s perspectives and ambitions shifted. Afrika Bambaata is responsible for sharing Herc\u2019s message of non-violence through the Zulu Nation. From borough to borough, Bambaata traveled to unite the youth gangs through a shared love for hip hop culture. Both Bambaata and Herc had tremendous success in defining hip hop as a culture that promoted unity, peace, and love. Once Rapper\u2019s Delight was released, the public began to associate hip hop solely with money and mainstream appeal. The hippity hoppity style of rap and music that Sugarhill Gang used was different from anything played at a party in the Bronx. Released a year later was <a href=\"https:\/\/www.youtube.com\/watch?v=JlTvgyUBTRs\">\u201cThe New Language of Rap\u201d<\/a> by the Treacherous Three, a song that had substance and flow similar to that of \u201cRapper\u2019s Delight.\u201d Jeff Chang says that \u201cTo the Bronx heads, the whole thing was a sham\u201d (131). The two mainstream groups were viewed as sell-outs who were not in touch with hip hop\u2019s roots and had sacrificed their artistic integrity in order to make money. The purpose of creating hip hop to unite broken communities and avert attention from gangs was lost on not only Sugarhill Gang and the Treacherous Three, but the world.<\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0The emergence of politically conscious rap and gangster rap realigned rap music with the roots founded in the Bronx and spoke to the tribulations from which hip hop was birthed. Sylvia Robinson, a representative of Sugarhill Records, encouraged the Furious 5 to record <a href=\"https:\/\/www.youtube.com\/watch?v=gYMkEMCHtJ4\">\u201cThe Message,\u201d<\/a> which was the first rap song of its kind. The beat and meaning behind the song were different from anything the Furious 5 had ever rapped to or about before, but unknowingly, they created one of the first conscious rap songs. A departure from the appealing wordplay of \u201cThe New Language of Rap,\u201d \u201cThe Message,\u201d was Melle Mel and Duke Bootee\u2019s testament to the energy-draining realities of living in the ghetto. Public Enemy took the Furious 5\u2019s blueprint and combined that with expert lyricism to make <a href=\"https:\/\/genius.com\/Public-enemy-cant-truss-it-lyrics\">\u201cCan\u2019t Truss It,\u201d<\/a> a song that addresses the systematic oppression of blacks in America. Chuck D opens the song with a verse that expertly compares the Holocaust to slavery, followed by alliteration and monosyllabic rhymes. Flavor Flav is responsible for using the hook as a kind of political chant that can be read as a warning against trusting the system or a warning to the system that black America cannot be \u2018trussed,\u2019 or constrained, again. Through his next two verses, Chuck D utilized prosopopoeia to imagine himself as a slave in Little Rock and on a slave ship voyage in order to compare the present commercialization of black artists to the past commoditization of the black slave. Gangster rap shares the same sentiment as conscious rap but is used as an outlet for suppressed anger and combative lyrics. Amidst aggravated police brutality and containment of blacks on the west coast, NWA and other artists used gangster rap to express their restrained lifestyles and political opinions. In <a href=\"https:\/\/www.youtube.com\/watch?v=ADdpLv3RDhA\">\u201cFuck tha Police,\u201d<\/a> NWA bluntly voiced their aversion for the police in response to an incident where they were forced by police to lay face down in the street with guns to their heads. The song went viral and, more importantly, caught the attention of not only the LAPD but the FBI. Black communities across the country had experienced the same injustices as NWA but were unable to have their stories heard and appreciated. The matter-of-fact style of gangster rap allowed artists to bring an irrefutable light to the oppression of blacks, a topic the country often neglected. Both gangster rap and conscious rap were essential developments of hip hop because they embodied the true purpose of hip hop and gave every unheard discriminated black person a voice.<\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0Another negative by-product of the Sugarhill Gang\u2019s elevation of hip hop to the mainstream stage was the manipulation and exploitation of artists by white record label owners. Major labels took notice of hip hop\u2019s newfound success and capitalized on the opportunity by signing every artist they could. Everyone from Afrika Bambaata to Grandmaster Flash was eager to sign a deal to increase their bookings and cash flow; only, they did not get what they signed up for. Bobby Robinson, a representative of Enjoy Records, was the first to sign Flash and the Furious 5 to a contract. During one of the groups\u2019 first recording sessions, they were surprised to find out that they would be rehearsing with a live band rather than a DJ, something they had never done before. After the group\u2019s first hit, \u201cSuperrapin,\u201d Robinson gave the group a meager amount and never paid the group their promised royalties. Robinson epitomizes the exploitive nature in which record labels dealt with hip hop artists as he and many other music executives attempted to refine hip hop. Sylvia Robinson and indie record labels like Def Jam Recordings were able to rescue hip hop culture from the grasp of big market record labels. Sylvia Robinson, responsible for \u201cThe Message,\u201d showed artists how to market themselves and gave them opportunities for exposure. Once artists recognized their impact and talents, they were able to control their careers and form personal identities. Music critic, Frank Owen, wrote that the founders of Def Jam, Russell Simmons and Rick Rubin, were creating \u201cthe first Black music that hasn\u2019t had to dress itself up in showbiz glamour and upwardly mobile mores in order to succeed\u201d (Chang 231). <div class='sangar-slider-52 mobile-full-content-box' style='width: 800px;height: 500px;max-width: 100%;position: relative;margin-left: auto;margin-right: auto;display: block;'><div class='sangar-content' style='display:none;'><img width=\"479\" height=\"360\" src=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/run-dmc-adidas-shoe-deal_2c707d37-9030-4b8a-9714-66ca10697b97_large.jpg\" class=\"attachment-full size-full\" alt=\"Run DMC\" loading=\"lazy\" srcset=\"https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/run-dmc-adidas-shoe-deal_2c707d37-9030-4b8a-9714-66ca10697b97_large.jpg 479w, https:\/\/commons.trincoll.edu\/justinsite\/files\/2019\/12\/run-dmc-adidas-shoe-deal_2c707d37-9030-4b8a-9714-66ca10697b97_large-300x225.jpg 300w\" sizes=\"(max-width: 479px) 100vw, 479px\" \/><div class='sangar-textbox ' data-anim-enable='desktop' data-anim-type='transition.slideDownIn' data-anim-duration='1000' data-anim-stagger='600'><div class='sangar-textbox-inner sangar-position-center'><div class='sangar-textbox-content' style='width:66.666666666667%;background:url(https:\/\/commons.trincoll.edu\/justinsite\/wp-content\/plugins\/sangar-slider-lite\/sangar-core\/assets\/images\/transparent\/black.png) repeat scroll 0% 0% transparent;padding:3.5em 3.5em;display:block;'><div class='sangar-textbox-title' style='text-align:left;'><p class='sangar-slide-title' style='color:#ffffff;font-size:3.5em;font-family:;'>Run DMC<\/p><\/div><div class='sangar-textbox-description' style='text-align:left;'><div style='color:#ffffff;font-size:1.4em;font-family:;'><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"sangar-slider-loading\" style=\"display:block;position:absolute;width:100%;height:100%;z-index:99;top:0px;left:0px;\" ><div><span id=\"span_1\"><\/span><span id=\"span_2\"><\/span><span id=\"span_3\"><\/span><\/div><\/div><\/div><\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 Def Jam was one of the first labels to allow artists to release conscious raps about racial issues, most notably, Public Enemy. Def Jam was responsible for \u201cleading the battle \u2018against the gentrification of black music\u2019\u201d (Chang 231). Once Def Jam and Robinson set the tone, Diddy began to lay down the foundation of hip hop mogulism. Diddy used his rap skills, personality, and entrepreneurial edge to strike up deals with shoe, clothing, and movie companies. Diddy demonstrated to other hip hop artists that they were bigger than music and could market themselves in any way they wanted. Hip hop became the center of the globalist capitalist economy and gone were the days where rappers were bound to a contract or creative control that recreated a system of limitations on black artists.<\/p>\n<p style=\"text-align: left\">\u00a0 \u00a0 \u00a0DJ-ing, breaking, and graffiti may never garner the attention that rap receives, but hip hop\u2019s ascendance to the top created a model for everyone on how to unapologetically define yourself and be impervious to naysayers. The initiators, artists, and people who pushed hip hop forward had to withstand push back from government institutions and greedy individuals. Hip hop culture was created amid conflict in the Bronx and developed by creators motivated by prejudicial authorities. Now, hip hop is a billion-dollar industry that is avidly followed by privileged kids from the suburbs, aspiring SoundCloud rappers, and professional athletes. Hip hop\u2019s most significant accomplishment is neither the industry\u2019s net worth nor the broad fan base; it is the fact that the culture has reached these heights while remaining authentic and resilient. The perseverance along hip hop\u2019s journey and the strength demonstrated by hip hop artists allows anyone who has ever felt subdued in life or had doubters to find solace and encouragement in hip hop culture.<\/p>\n<p style=\"text-align: center\"><span style=\"font-weight: 400\">Works Cited<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u201cAdyer.\u201d <\/span><i><span style=\"font-weight: 400\">Adyer<\/span><\/i><span style=\"font-weight: 400\">, 1974, adyer1.github.io\/sedgwick\/images\/masterofceremonies.jpg.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0 \u00a0 \u00a0\u201cBowery Boys History.\u201d <\/span><i><span style=\"font-weight: 400\">Bowery Boys History<\/span><\/i><span style=\"font-weight: 400\">, 2010,<\/span><\/p>\n<p><span style=\"font-weight: 400\">www.boweryboyshistory.com\/wp-content\/uploads\/2010\/09\/24BygoneJp.span_.jpg.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u201cCan&#8217;t Truss It.\u201d <\/span><i><span style=\"font-weight: 400\">Genius<\/span><\/i><span style=\"font-weight: 400\">, genius.com\/Public-enemy-cant-truss-it-lyrics.<\/span><\/p>\n<p><span style=\"font-weight: 400\">FunkyVinylJunkie, director. <\/span><i><span style=\"font-weight: 400\">Marley Marl Feat. MC Shan &#8211; Marley Marl Scratch<\/span><\/i><span style=\"font-weight: 400\">. <\/span><i><span style=\"font-weight: 400\">YouTube<\/span><\/i><span style=\"font-weight: 400\">,<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0 \u00a0 \u00a0YouTube, 2007, www.youtube.com\/watch?v=vwYNZRecEl4.<\/span><\/p>\n<p>Greenburg, Zack O&#8217;Malley. \u201cForbes.\u201d <i>Forbes<\/i>, 2019,<\/p>\n<p><span style=\"font-weight: 400\"> www.google.com\/url?sa=i&amp;source=images&amp;cd=&amp;ved=2ahUKEwiigv7hwLjmAhXMdd8KHf1NDJwQjRx6BAgBEAQ&amp;ur<br \/>\nl=https%3A%2F%2Fwww.forbes.com%2Fsites%2Fzackomalleygreenburg%2F2019%2F12%2F13%2F21-savage-and-the-30-under-30-<br \/>\ndreamer-team-they-tried-to-bury-us-they-didnt-know-we-were-<br \/>\nseeds%2F&amp;psig=AOvVaw0_R2RE6jJI53XaiQYhF2DD&amp;ust=1576528579672468.<\/span><\/p>\n<p><span style=\"font-weight: 400\">HipHopKlaZZiX, director. <\/span><i><span style=\"font-weight: 400\">Treacherous Three &#8211; New Rap Language<\/span><\/i><span style=\"font-weight: 400\">. <\/span><i><span style=\"font-weight: 400\">YouTube<\/span><\/i><span style=\"font-weight: 400\">, YouTube, 2008,<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0 \u00a0 \u00a0www.youtube.com\/watch?v=JlTvgyUBTRs.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Laurence, Rebecca. \u201cBBC.\u201d <\/span><i><span style=\"font-weight: 400\">BBC<\/span><\/i><span style=\"font-weight: 400\">, 2013,<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0 \u00a0 \u00a0ichef.bbci.co.uk\/wwfeatures\/wm\/live\/624_351\/images\/live\/p0\/1d\/wg\/p01dwglp.jpg.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Murray, Amanda. \u201cThe Smithsonian.\u201d <\/span><i><span style=\"font-weight: 400\">The Smithsonian<\/span><\/i><span style=\"font-weight: 400\">, 2010,<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0 \u00a0 \u00a0invention.si.edu\/invention-hot-spot-birth-hip-hop-bronx-new-york-1970s.<\/span><\/p>\n<p><span style=\"font-weight: 400\">N.W.A. &#8211; Topic, director. <\/span><i><span style=\"font-weight: 400\">Fuck Tha Police<\/span><\/i><span style=\"font-weight: 400\">. <\/span><i><span style=\"font-weight: 400\">YouTube<\/span><\/i><span style=\"font-weight: 400\">, YouTube, 2018,<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0 \u00a0 \u00a0www.youtube.com\/watch?v=ADdpLv3RDhA.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u201cShopify.\u201d <\/span><i><span style=\"font-weight: 400\">Shopify<\/span><\/i><span style=\"font-weight: 400\">,<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0 \u00a0 \u00a0cdn.shopify.com\/s\/files\/1\/2350\/0045\/files\/run-dmc-adidas-shoe-deal_2c707d37-9030-4b8a-9714-66ca10697b97_large.jpg?v=1529011563.<\/span><\/p>\n<p><span style=\"font-weight: 400\">UPROXX Video, director. <\/span><i><span style=\"font-weight: 400\">Grandmaster Flash &amp; The Furious Five &#8211; The Message<\/span><\/i><span style=\"font-weight: 400\">. <\/span><i><span style=\"font-weight: 400\">YouTube<\/span><\/i><span style=\"font-weight: 400\">,<\/span><\/p>\n<p><span style=\"font-weight: 400\">YouTube, 2011, www.youtube.com\/watch?v=gYMkEMCHtJ4.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u201cWikimedia.\u201d <\/span><i><span style=\"font-weight: 400\">Wikimedia<\/span><\/i><span style=\"font-weight: 400\">, commons.wikimedia.org\/wiki\/Category:Graffiti_in_New_York_City.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Fricke, Jim, and Charlie Ahearn. <\/span><i><span style=\"font-weight: 400\">Yes Yes Y&#8217;all The Experience Music Project: Oral History of<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400\">Hip-Hop&#8217;s First Decade<\/span><\/i><span style=\"font-weight: 400\">. Da Capo, 2002.<\/span><\/p>\n<p><span style=\"font-weight: 400\">CHANG, JEFF. <\/span><i><span style=\"font-weight: 400\">CAN&#8217;T STOP WON&#8217;T STOP: a History of the Hip-Hop Generation<\/span><\/i><span style=\"font-weight: 400\">. PICADOR,<\/span><\/p>\n<p><span style=\"font-weight: 400\">2020.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00a0 \u00a0 \u00a0If someone said that hip hop was conceived after the creation of Def Jam Recordings, or that popular music genre was birthed as Biggie and Tupac came onto the music scene, they would be incorrect. Hip hop was actually born and bred in&hellip;<\/p>\n","protected":false},"author":2612,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/posts\/41"}],"collection":[{"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/users\/2612"}],"replies":[{"embeddable":true,"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/comments?post=41"}],"version-history":[{"count":20,"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/posts\/41\/revisions"}],"predecessor-version":[{"id":63,"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/posts\/41\/revisions\/63"}],"wp:attachment":[{"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/media?parent=41"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/categories?post=41"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/commons.trincoll.edu\/justinsite\/wp-json\/wp\/v2\/tags?post=41"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}