Chapter 18: Becoming the Hip- Hop Generation: The Source, the Industry and the Big Crossover

Chapter 18: Becoming the Hip- Hop Generation: The Source, the Industry and the Big Crossover

Polyculturalism and Post- Whiteness (pp. 421- 422)
During the 1990's corportations were joining the idea of Hip- Hop becoming multicultural. Robin D. G. Kelly who was a historian, and scholar Vijay Prashad believed that the idea of "multiculturism" had been co-opted by the state and capitalism. "During the 80's, multiculturalists had pushed for inclusion and representation. But post- Chronic corporate multiculturalism reinforced backward notions of identity." This is how hostorian Kelly came up with coining the term "polyculturalism" to revive a version of intergration.
This term "polyculturalism" was built on the idea that civil society and communities does not need Eurocentrism or whiteness to help this particular culture function. The real world contained layers of cultures that have blended sounds; like polyrhythms of a jazz song. It was believed that this type of intergration would uplift everyone. "But urban marketing threatened to confer the trappings of intergration while perserving the realities of segregation and equality." So, this became the big crossover for the Hip- Hop nation,setting off the paroxysms of self- examination.
In a very detailed essay called "We Use Words Like Mackadocious", found in The Source magazine; discussed the influence graffiti artist Wigger had on the Hip- Hop culture by introducing the nation to MTV Raps, which made Hip- Hop even more successful that what it was. Behind this essay he wrote that "One day the rap audience may be as whites as tables in jazz club, and rap will become just another platform for every white ethnic group- not only the Irish- to express their suddenly funky selves."
I believe that this was the idea for many urban areas to address optimism throught- out the neighborhood. Hip- Hop separated from marketing imperatives which was still something that this generation could control and define. Suburbanites could unite with the urbanites, and Cauasians can learn to respect African- Americans.
Strictly Underground (pp. 422- 423)
The highest aspirations of the Hip- Hop generation brought about principal of realness, honesty, intellect, and independent minds. Author Wimsatt self published book "Bomb The Suburbs and hawked it by hand to Blacks, whites, Latinos and Asians on subways and in the streets as he criss- crossed the country, selling 23,000 copies." Hip- Hop nationalism was mainly designed to stay true to yourself, as well as your peers, and sticking to your word.
Another thing that the Hip- Hop stood for was do- for- self. This theme moved everyone in the Hip- Hop industry, such as: graffiti artists/crews, break- dancers, skateboarders, dee- jays, and emcees. This was also express through fashion which was rising throughout the Hip- Hop culture as well.
Now, Hip- Hop is starting to crossover and new problems are beginning to come about, but there was also a sense of big opportunities that awaited for anyone that was interested. So, the question was were you worth reaching the market and fanning potential which remained the goal.
Vibe and the Triumph of the Urban (pp. 423- 426)
1993 was the year that "The Source" magazine expanded beyond record labels to include Nike, Reebok, Sega and Bugle Boy. The circulation was up to 90,000 readers; the average reader were twenty- one year old males. At least over half of their readers were African- American, and a quarter of them were Cauasian. Hip- Hop at this time was considered to be like rock and roll, twenty- five years ago, making the music lifestyle live through an entire generation of young people.
Famous Black producers like Russell Simmons, Quincy Jones, and Time Warner agreed with how Hip- Hop is evolving. Of the year 199, a discussion was held with Mays, Shecter and Bernard on buying "The Source" magazine. People felt that "The Source" magazine was not big for Hip- Hop, which apperantly they were wrong. "They also thought that there was a market for a mainstream Black music magazine that came out of Hip- Hop, which they were right about."
When Simmons left before "Vibe's" magazine of September 1992; a test launch was admitted and no one had an idea of what to expect, whether if anyone was going to buy the magazine at store stands or would remain on the shelves . On the contrary they did definitely know that "Black music Rolling Stone" would sell- out and be huge. "On the advertising side, they had picked up companies like The Gap, Swatch, and Nintendo, but they also landed Benetton, Armani Exchange, Gianni Versace, four pages of Levi's jeans and five pages of Nike." These ad pages ran for $5,000 and $6,000, which their 144 page page tester had fifty- four ad pages and hit the stands with 200,000 copies, it was twice the circulation of "The Source" magazine.

The Rewrites (pp. 432- 433)
It was told to the press that the magazine was wroth fighting, especially for the Hip-Hop generation. Many the staffers felt as if the war was already lost, due to the standards and codes that was in place and they could be the blame of the corruption towards the Hip- Hop generation. It seem as if Hip- Hop was free for the taking.
"Bernard and Dennis had found an investor willing to put up $3 million for a buy- out, but without Ed Young, they did not have the controlling interest to force Mays to sell." Dennis stated that, other options could be taking end the"violence and retaliation." But it became clear that there was not nothing to salvage the situtation; "The Source" magazine was mainly over.
The entertainment empire grew, "The Source" magazine radio network became national through an all Hip- Hop television program, which contained a Hip- Hop Music Awards ceremony. Bernard bought back "The Source", which reamined supported by a Youth Foundation. A series of compilation CD's were handed out, during the annual Source Hip- Hop Music Awards and syndicated on television.
In 1997, XXL Magazine was lanch to compete directly with "The Source" magazine. Mays, later enter a partnership with Jann Wenner of "Rolling Stone" magazine, but Wenner rejected the offer because she did not want pony up $15 million for a quarter ownership. Now, Mays came up with a new plan by wanting to build a Time Warner of this generation.
The law continued to hawk Scott and his crew. An FBI agent investigator investigated inton Scott's murky past, and two men were later convicted of stabbing a Boston Celtics star Paul Pierce.
Coda (pp. 434- 435)

In Spring of 1995, Months after the meltdown of "The Source" magazine and its second annual Source Music Awards; Suge Knight stepped to the microphone and podium to call P. Diddy out, along with Bad Boys entertaiment. By this time Hip- Hop had now become the fastest- growing sector of the music industry and out of control.
"The Source's collapse seemed to prophesy a new kind of predatory, mercenary, get- it- while - you- can impulse in the Hip- Hop nation." Beef equal death at this time and Death Row records and Bad Boys records were part of the beef, and their stars were Tupac and Biggie Smalls. Competion mainly inspired paranoia. Greed lead to violence and that what came about in this beffy climax.
In Hip- Hop at this time there were a lot of heroes, which are not here now but the die in the Hip- Hop industry. Because of those heroes death; artists have spoken out to stop the feuding and reunite once again. They believe if they stick to the true message of what really made Hip- Hopand why; it would paint a clearly picture for everyone, especially the older generation.