Tell it Like it isLatoya RogersThe “Afro-Columbization” of Hip Hop and Discourses on Authenticity by Christopher Dennis

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Introduction to Hip Hop 101

• Hip hop is generally defined as the culture, styles and discourses, while rap refers to the music, considered to be one of the four pil lars of hip hop culture: break dancing, Djing, Mcing(rap), and graffit i .

RESISTENCIA: HIP HOP IN COLOMBIAResistencia offers a rare look at the Hip Hop street

Subculture in civil war-torn Colombia, while at the same time exploring how traditional Latino music is being infi ltrated by rap. h ttp://www.hiphopfilmfestival.com/film_resistencia.php

"Whoever likes my stuff, likes my stuff. But just know Slim Shady is hip-hop. I grew up on hip-hop, it's the music I love and it's the music I respect. I respect the culture...that's me." - On the hip-hop culture -Eminem

Where it originated

Krs quote; And a lot of people caught offense to that: "What do you mean you are Hip-Hop?" Obviously, that was not my point of view - that I alone, am Hip-Hop and no one isn't . The point was that I declared that I am not just doing this art-form, representing Hip-Hop l ike it 's over there somewhere - distant from myself , I Am Hip-Hop. Hip-Hop is my being! Hip-Hop doesn't happen unti l I do it . And that goes for others. ---KRS1 Word Perfect Inner-view www.rapnewsdirect.com

• From a cultural and musical practice among African American and Hispanic youth in the Bronx, hip-hop has become a global signifying practice providing new parameters of meaning to locally and/or nationally diverse social groups.

To look up a t ime line for where Hip Hop started go to;Experience Music Project: Hip Hop Timeline –go to on webpage to hip hop t imelinehttp:/ /www.emplive.org/exhibits/ index.asp?art icleID=664

How hip hop Assimilated into Columbia

• This is the initial emergence of hip hop into Columbia often had less to do with the development of global communication systems and the marketing and exportation of U.S. pop culture, and more to do with a combination of unique processes of migration f lows and direct cultural contact.

• The nature of hip hop in Columbia dramatically changed in the 1990’s when the Us entertainment industry began to intensify the global promotion and exportation of U.S. hip hop and rap through music markets, radio, television and cinema, largely aided by the advancements and growth of mass communication systems. Nowadays, for example, most CDs are not imported, but instead mass-produced in Columbia by outsourced distribution companies. This explains why the influx of Us rap has been frequently played on Colombian radio stations and widely sold in stores.

• …..,The majors have consolidated their control of music industry not only through “vertical” (aiming to connect companies further up and down the production –consumption chain),” but also through ““horizontal’ (aiming synergy related entertainment industries) mergers and acquisit ions strategies.

/•http://www.intermundos.org

Negative contrast

• Hip hop to me there is a few drawbacks in Colombia, there is a new form of mass industrial ism which is similar to pandering. The spin-off of consumerism is that i t divides and splits the communities. The adjective that describes the new form of mass industrial ism is the catalyst “production”. In this example the facts the hold authenticity and discourse is production; 1. no major label local or international has signed any art ist since this art icle has been published. 2. The labels want the artist to sellout meaning going mainstream. 3. the way money is made to make a cd to get produced.

• Here in the Us today, you have to go under ground and a lot of the money the made to produce project comes from il legal money. As in Colombia, here in the Us there is not a lot of resources where you can go to get promoted if you do not have it. But here in the US, there are a lot of indie labels, and/or independent labels that the majors label either give a distribution deal to or buy out because there ear is closer to the lower socio economic level. Today in the US, i t is hard to send your demo or package to a label they do not want to be solicited by mail i t is al l by word of mouth or how wired you are, example Jay-z wil l not work with any promoter only ones in the cit ies he has been in and have give him a crowd. He charges a 100,000 for a show. If you cannot bring those numbers (crowd), you are a spectator. Get out the game.

Also

The reason it divides the class, lets look at the Us f irst, here in the states we have different generas of music that is socially acceptable because you have anglo america that l ikes Jay-z pop style such as h to the izzo, you have something to dance to it does not come across to poli t ical unless you are Kanye West or Tupac for instance. When i t sends a message that shows the truth of the US than i t causes controversy, the labels know that, because bad press is l ike the law, i t can make a project and give it l i fe or not. It can goes as far the Supreme court to fight; Bill of Rights Amendment I,

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the government for a redress of grievances.

The example of discourse that hip hop can bring is look at the this situation; In that case, Pennsylvania native Tucker, who died last year, claimed that Tupac's lyrics on the track "How Do U Want It," from 1996's All Eyez On Me album, had caused her "great humiliation, mental pain, and suffering." The lyrics in question included the line: "DeLores Tucker, you's a motherf****r/Instead of trying to help a n***a, you destroy a brother." http://www.mp3.com/news/stories/6565.html

The discourse

Where does the line Draw?

• Where does the l ine draw? This comes from earl ier when I spoke of division does it mean that al l people have to come from severe l iving condit ions in order to be authentic and for all of us to have a reason to l isten to i t. Because we relate it to a human condit ion, instead of the music and lyrics having a sol id message instead of a formulaic fantasy that gives off the thought you wil l be rich and make it out of your condit ion. That is a l ie, to me everyone has a rule to play in this world. As, John a Mil l is says, a that some people are made to be poor and be pluralistic, as are some to be rich and wealthy. But what i f hip hop is the poor people’s movement. They change because this is the only way they can make a change in there current condit ions and they are looking for a platform to express there selves. As here in America we have are own sell outs as in Columbia, then we may not because if you want to feed your family in these pluralistic societies wil l make changes no matter the cost it cause on the family or if that man was about marry if money is 20 miles out they wil l drive to go make it. This is what mass industrial ism has made underdeveloped countries turn into by definition.

The Positive comparison

• The Columbian identity also celebrates the positive side of hip hop to express the reality of those knowing the true conditions of true condit ions of true people, but expressing the posit ive that comes from rising above it.

You can sti l l have a message to your music, but make the music appeal to the people. By putt ing your own spin on your music by incorporating your own identity and culture. As in Columbia a Group cal led Choc Quib Town strays too from the established norms with regards to musical style, sound and melody, a and then gains recognition for their musical experimentation with autochthonous sounds from their own traditions and culture( which incidentally is exactly what has led to their growing appeal beyond hip hop community)

Final thoughts

• I could talk on and on about hip hop because it was I grew up on, I l ive it, breathe, drank it, go to clubs to hear it, in my car, or where ever. It has given a lot of us voices to be able to speak to the masses. As in the case of Columbia and here in the United States there is authentic issues and discourses amongst classes in similar ways and not so similar. Why? because we here in the United States have resources and options and can go and work with other artist abroad and incorporate different styles. Stil l not be considered a crossover, but that answer is the candy coated version of a response. From the streets, when your music is not underground, with a hot Dj or on a mix cd. You may have radio, but street respect from working with Dj clue or Mic Boogie or ect,,,. You are nothing, but a crossover artist with what we call crossover that is not authentic to be a record labels excuse me “Bitch”. The discourses comes with what the labels deem to be radio ready/ friendly that is if they edit your music or soften you lyrics. You know you have made it mainstream and the radio puts you into format urban radio that reaches demographics of 16 to 25 the highest purchasing (consumer) power in the United States. On the other hand, in Columbia you have no labels only certain organizations helping these artist, as well as them working odd jobs to be able to make a cd to sell the masses, they also are torn between whether they want to be mainstream or whether l ike Choc Quib Town who has added there identity and culture to there music and lyrics. This is in the eyes of there culture is a sellout because it does hold true to the worst human condition in there society. The discourse is the division of the mass industrialism production. It has given a false dream that you can reach the status of mainstream United States if you sell your soul, at the sometime you have to feed your family may be you could do reguton such as Daddy Yankee, and have fame and fortune. Is worth it for sake of argument is good for them to stay unnoticed by staying true there identity and culture or is better to sell out. I pose this question this is industrialism and the effects of consumerism all the problems that arise from what these underdeveloped countries introduce to there culture, and the drawbacks that follow is l ike a bomb it drops and after the dust subsides they are like ants out of control. No one gives guidelines or rules, it just go for yours. So here is my questions is it working or is worth it? Is there is a cost? What follows is what Ludacris describes to get your own label, and the (discourses)problems of being in the industry.

Tell like it is by Ludacris• Ludacris Tell It Like It Is Lyrics

• [Verse 1]Things ain't always what they seem or cracked up to be Like all these fakin' ass rappers in this industry Talkin' bout what they got, and they ain't got a damn thang How you own three cars, but you don't own ya own name? Get ya business right boys, the first class is in session Get a entertainment lawyer in the music profession Start up ya own company, trademark the name That's gon' run ya bout a grand so start savin' ya change Open a bank account quick, and then follow these steps Sign yourself to yourself and start signin' ya own checks Hit the booth and start recording at the speed of need Whatever gets ya juices flowin' could be speed or weed Get it mixed and mastered, pressed up and plastered Sell it to ya whole hood out the trunk, ya bastard! Show all the non-believers what you destined to be And in just a couple years you could be rich like me

[Hook]But I can't hold my tongue I 'ma tell it l ike it is This biz ain't all fun I 'ma tell it l ike it is Give it to ya straight, no chase I 'ma tell it l ike it is Look you straight in yo face And I 'ma tell it like it is

I can't hold my tongue I 'ma tell it l ike it is This biz ain't all fun I 'ma tell it l ike it is Give it to ya straight, no chase I 'ma tell it l ike it is Look you straight in yo face And I 'ma tell it like it is

Tell like it is by Ludacris• [Verse 2]

See, mostly all your favorite artists got some serious problems The money could be the problem, but money can't solve 'em Some get addicted to drugs and flat out lazy Some taste a lit t le fame and go flat out crazy I 'm close 'cause those close wanna live off my fame And that type of shit alone wil l drive a nigga insane Not to mention all the vultures, the scandelous promoters Crabs will try to sue ya, magazines will misquote ya Most of these label-heads, they don't care nothin' about ya If you stop sellin' records, they'l l act l ike they don't know ya It 's hard mixin' business with pleasure, so don't play Me and my crew argue and fight l ike every other day Rappers ain't above the law, but our l ife is so fast That we got a Special Task Force of police on our ass All that, and this is really just the start of it [Tell It Like It Is lyrics on http://www.metrolyrics.com]

Hip Hop, you really wanna be a part of i t? [Hook]

[Verse 3]What's worse than havin' no money is havin' it and losin' it What's worse than havin' some money is grabbin' and abusin' it We never took no money from Chingy, thought I was cool wit him I wish his ass well, but I don't want nothin' to do with him! Some don't own they publishin', me I never fool wit 'em I'm down for my artists, try my best to stay true to 'em 'Cause outside my label competit ion is irrelevant Unless I 'm stil l in competit ion with my president And believe that I 'm supportin' the Hova ' 'Cause the industry's shady, it needs to be taken over' But the first rule to accumalation of wealth Is Don't trust nobody but ya God damned self!

[Hook]

Resources

• Experience Music Project: Hip Hop Timeline –go to on webpage to hip hop timeline

http://www.emplive.org/exhibits/ index.asp?articleID=664 • Columbia University extension of resources and where I go the t imeline.• http://www.colum.edu/SpecialEvents/hiphop.php#vid

Documental sobre la cultura negra en Colombia realizado por Juan Pablo Méndez. From You tube

Parte 2 • http://mrjuanpa.blogspot.com/• Parte 1• http://mrjuanpa.blogspot.com/

• Quotes from Krs-one the forefather of Rap• Quote from Eminem • All pictures from google images.