sorry for my englis i’m a black man from France

Hip-hop, however, initially managed to dodge the industry’s control mechanisms because it was so new and unfamilar, and the industry saw it as a black urban counter-culture that would die off soon.

But instead, hip-hop turned out to be more appealing than the big-wigs anticipated (partially because everything else coming out sucked), and just hung-around and hung-around until hitting a creative peak in the mid-nineties and exploding into the mainstream’s collective conscious.

At this point, The Machine was set in motion. It had too, because tons of white people were now vibin to rap music, blurring the distinctions between the marketing classes the corporate media lays out as societal norms. White people, of course, are supposed to like the same old rock music they’ve been trained to like since the industry killed the Age of Aquarius.

So The Machine set its plan into motion, which, among other things, involved:
1) Throwing tons of $$ at mediocre uber-ignorant acts and flooding the airwaves with this garbage
2) Making hip-hop the fashion of the moment so that once the moment passed, it would seem passe to the trendy types
3) Creating the “hollywood wigger” character, the absurd white or asian guy who wants to “be down”, use slang, join street-gangs, carry guns, etc., so that non-black persons who like hip-hop are forced to reconcile themselves with this image. If someone wasn’t born in the hood or felt some sort of oppression, they weren’t “qualified” to listen, even if they liked the rhythms, sounds, and messages.
4) Like most primarily black art forms, create a sentiment that it’s generally dumber than white art forms.

So, around the turn of the century, hip-hop lost its unity and the detrimental division into factions (club, underground, hood, etc.) began. And with everyone isolated and trying to make their group’s “sound,” creativity was stifled, much to the chagrin of the industry. MTV, for instance, has been reinforcing these notions by presenting separate VMAs for “hip-hop” (that is, rap music that is acceptable for white people to listen to because it’s black people “behaving”) and “rap” (black people being disobedient to society). KRS-One’s preachy-ass is an idiot for ever promoting this division, essentially doing the work for The Machine.

But thankfully, this is far from the end of the story. The “rise from the ashes” you predict is already underway. There’s a lot of pride in this hip-hop thing. The fans and the artists, on all sides of the divide, know it’s the still the best music form being offered. It’s the only one that easily and openly incorporates elements from all forms of music (classical to R&B to electronic), and the only one that can capture the whole range of moods and feelings of life.

Personally, I love the fact that NY rappers are pissed. Maybe some of their venom is misplaced, but the venom can only be a good thing in terms of creativity. It’s making them all hungry to prove themselves again, as musicians. Like you said, and the Roots are saying with “Don’t Feel Right”, even though it’s tough to pinpoint, something hasn’t been right. Acknowledging the problem and looking to address it can only be a good thing.

The TI’s finally got their paws around it and mauled the life out of hiphop. Hiphop was born from the saturation of disco, so what will be born from hiphop??

NO DINNER TONIGHT HONEY, TITERNIA

so why dont yall hate on them