Tired of the Bullshit

The state of hip-hop has been an ongoing topic in the African-American community within the last decade. Hip Hop heavy hitters have produced hundreds of symposiums, conventions, conferences, lectures, panels, interviews, and whatever other types of discussion groups one can think of to initiate the conversation on “the state of hip-hop.” The most current consensus from those who are directly involved in the industry (the artists) is that maybe, for some individuals, art is more important than commerce. The Village Voice’s Tom Breihan, in an article on December 3, 2007, entitled Why Do Rappers Keep Quitting, presents the argument that many rappers, such as Saigon, feel freedom of speech and expression far outweigh the “bullshit” of the music industry. By “bullshit” Saigon—and Breihan as well, are referring to the censorship, judgment, and criticism that almost all rappers receive if their music contains political, social or cultural ideas that stand oppositional to mainstream America’s popular agenda. Breihan seems intent on reproaching rappers who are considering making an exit out of the rap game such as: Saigon and Lupe Fiasco. However, when individuals who, according to Breihan, haven’t produced enough music to become accessible or knowledgeable to the majority of their potential fans, start to second guess their validity and influence in an industry that they feel is against them, then maybe it’s a clear sign that something is wrong. How can a rich and influential form of expression such as rap continue to survive by admonishing its most promising and pure creators? It appears that Breihan represents the very essence of why these artists are quitting the rap game. When artists express discontent or frustration with the status quo of hip-hop, the industry quickly silences them, or presents them as disrespectful of the sources of their fame and success. They lack any sort of moral support from the hip-hop community if their opinions and sentiments fail to represent the traditional practices of the form. Ultimately, Breihan questions that if the hip-ness of the rapper in hip-hop has passed and the music industry has no room or tolerance for them, then what’s the point? The point is that artists have the right to voice their grievances, and they equally have the right to choose to not participate in a system that is ambiguous and propagandistic.