Boyce Watkins Thoughts on Lil Wayne and Commercialized Hip Hop

Dr. Boyce Watkins
http://www.boycewatkins.com/

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Those who know me also know that I love hip hop. Yes, there are some negative elements in hip hop, but many people forget that it's ultimately the corporate monster that makes it difficult for positive hip hop music to reach the light of day. I think that healthy debates on the nature of hip hop are relevant, and I am not referring to Oprah's town hall meeting on the topic last year, which really wasn't fair to the genre. I told her so in a CNN appearance with Roland Martin and Wendy Williams.

To join our Black Money advice list, please click here. My thoughts on the Lil Wayne and hip hop issue are below. I don't hate Lil Wayne, I actually feel sorry for him. He reminds me of Tupac, with the same energy, creativity, brilliance, productivity and incredibly self-destructive behavior that led to his legendary status. The difference, however, is that there was an element of social conscience Tupac could bring to his music that Lil Wayne does not. I am not interested in bashing the brother, but I must call it for what it is. Hip hop does not have to be an empty genre, with every song about sex in the club, smoking weed or blinging out of control. There's more to life than that. We should be teaching our kids to pursue "intellectual bling", so that we can search for true meaning in our lives and to be intelligent enough to stop being pimped. Hip hop can be (and has been) a part of that journey. Again, I love hip hop, and I even love Lil Wayne.....sometimes.

Respect peeps, see you next time.

Dr. Boyce Watkins
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Hip Hop Commercialized? Buffoonery or something more complicated?
By Dr. Boyce Watkins

I am not a huge fan of Lil Wayne. I don’t hate him, I just don’t love him. His music doesn’t make me move, but it doesn’t make me sick. The thing that challenges my ability to love Lil Wayne is the environment within which he is operating.

Lil Wayne can be considered, by some, to be a modern day minstrel show: gold chains, diamond grills, 10,000 tattoos on parts of his body that have no business being tattooed, you name it. He engages in the stereotypical rock’n roll/hip hop lifestyle: guns, drugs, alcohol and random women. I fear for Lil Wayne, because at this pace, he might be dead before he turns 35. Lil Wayne makes Tupac Shakur and Eazy E look like conservative school kids.

Lil Wayne impacts the world in which he lives, sells records by the boat load and impacts far more young men than he probably should. It’s not that he chooses to be a role model, he just is one. But when we see Lil Wayne and express justifiable disdain for his behavior and persona, there is certainly more to be said.

You see, Lil Wayne is a product. The corporate executives pulling the strings and making the decision to sign deals with Lil Wayne also see him as a product. A product has to sell to its target audience, or it will not reach the sole objective of any capitalist venture: to make a profit. Not just any profit, but the highest possible profit within legal constraints. The corporate model doesn’t care about the community; it doesn’t care about health, workers, the environment or anything else. Like the financial machine that led to the breakdown of our global economic system, cogs in the wheel that pursue any objective other than pure profit maximization are quickly punished and replaced.

The target audience of hip hop is not black teenagers in the hood…..they don’t have any money, relatively speaking. The target audience for hip hop consists of middle and upper class kids in the suburbs, and those on college campuses. Those are the kids who line up at the record store and cause server outages at I-tunes when new albums are released. That is who the executives are trying to impress, and that is who Lil Wayne must impress in order to get a record deal.

The problem with Lil Wayne is that the transfer of commodities taking place between the recording industry and white America is one that lies over the economic heads of many African Americans. It doesn’t mean that those in the hood play no role in public consumption, but we are certainly not the biggest players in this game. Like a big bridge in the sky, we don’t impact the transactions, but we closely observe them. We don’t always buy the albums, but we watch the videos, read the articles, and hear the news stories about whose album sold the most copies during its first week. Due to the fact that there is a lack of diversity of images of black men in media, we have children who see the image of Lil Wayne and transform him into an involuntary role model. White kids don’t have to use Lil Wayne as a role model, since they see 50 new white men on TV every single day. Black youth don’t see doctors, lawyers and professors on TV: they see criminals, thugs, athletes and entertainers.

Lil Wayne’s environmental impact on the black community is what we in economics would call “a negative externality”. The fact that he makes it cool to use drugs, carry guns and engage in anti-social behavior does, in my opinion, cause irreparable harm to the black community. The problem is that the black community has little leverage to control these externalities, since we are neither the dominant consumers of hip hop, the controllers of media or the owners of record labels. Like the bridge in the sky I mentioned above. The presence of networks like BET or magazines like Essence and Ebony is relatively minor when compared to the dominance of CNN, Universal Records or Time Magazine. It’s like bringing a knife to a fight between nuclear superpowers.

Those of us upset about negative images in hip hop can protest all night at the next Lil Wayne concert and perhaps even have an intervention with Wayne to get him to see the err of his ways. The problem with this logic is that even if Lil Wayne does change his behavior, there is a long list of starving kids in the projects that the record label executives can find to replace Lil Wayne after he has been dropped from the brand. Also, getting Lil Wayne to invoke a more positive image will not change the fact that the consumers and producers of his product (gangster rap) are more willing to purchase albums made by black men when they feel that the performer has indulged their need to enjoy a stereotypical "thug-nificent" fantasy. Wayne may have some degree of industry power, but it is not as much as we might think. The in-studio recording of Lil Wayne’s product is not what creates the magic. The magic of a product is created through the marketing, distribution, financing and purchase of that product. That is done by the labels, and none of the large label owners are African American.

So, does Lil Wayne represent a modern day minstrel show? My answer is yes. He and others like him are told to behave more “thug like” and in more ridiculous and extravagant ways in order to get the attention necessary to sell records. It is, unfortunately, not smart business for a rapper to brag about being intelligent. Also, it is a lack of diversity of black male images in media that give black youth few alternatives for self-perception that go beyond that of Lil Wayne, 50 Cent, Flavor Flav and Juan Williams (the Fox News analyst who, along with Jessie Lee Peterson, enjoys bashing the black community). If any of these men chose to be forthright, insightful and firm in their support of the African American community, they would be fired immediately. But when we protest and challenge the system that is negatively impacting our communities, my argument is that we should look past the puppets and deal with the puppet masters.

Some would argue that by attacking rappers for the negative impacts of their lyrics, we are simply killing the messengers and going after the weaker scapegoat. While I am not one to judge whether the messenger should be killed, I am also an advocate for finding a way to get to the root of the message. Someone is controlling the messages of hip hop, and it’s not that poor kid from the projects who finally made it big.

Dr. Boyce Watkins is a Finance Professor at Syracuse University and author of “What if George Bush were a Black Man?” He makes regular appearances in national media, including CNN, ESPN, BET and CBS. For more information, please visit BoyceWatkins.com

Your Black Brothers: VIGALANTEE: Hunting for Souls

VIGALANTEE: Hunting for Souls
By: Tolu Olorunda
Staff Writer - YourBlackWorld.com

Vigalantee (born Roger Suggs) is no stranger to the underground Hip-Hop scene. Born in Chicago, Vigalantee has always been a fan of Hip-Hop – though a critic, when necessary. In addition to his musical career, Vigalantee is also an arduous community-organizer and activist, whose youth program is touching many young lives across the city of Kansas. As the name suggests, Vigalantee is hunting for more than nice beats or dope rhymes. As a young man, trapped in between the perils of inter-racial animosity and intra-racial hostility, Vigalantee knows how critical it is for young Black kids to find worthy role-models in the communities that shape their destinies.

Vigalantee grew up in Chicago, and experienced, firsthand, the much-referenced tales of gang warfare. Concerned with the emotional toll this reality wreaks on a child, his mother sent him to a relative’s home in Georgia. Vigalantee describes this as the unraveling of another “extreme” living condition. In Georgia, unlike Chicago, it was a more state-sanctioned assault on the integrity of Black people. Vigalantee remembers being smothered in the blood-dripping trenches of racism and segregation in the Peach State.

Watching his “granddaddy walking like a sharecropper,” and living on the fringes of poverty, “influenced” Vigalantee to become the activist he is today. It made him aware of the horrific second-class citizenship-status of Black people in the South, and informed him of how essential a concrete “agenda” for the uplifment of Blacks was.

Vigalantee draws a parallel between his experience in Georgia, and the decision to start up a record label – making music independently. Having witnessed Black men unable to drink from the well of prosperity in Georgia, Vigalantee felt this revelation was a prophetic calling to live a life of dignity and elegance. His choice to “go independent” would also turn out to be financially conducive, as independent artists usually exercise more dominance over their projects, and earn more, per album sold, than their mainstream counterparts. Being independent makes Vigalantee empowered to speak on his agenda, without “censoring” his “stuff for any corporations.” It grants him the “freedom to express myself to the fullest extent.” Vigalantee claims to have been inspired by the entrepreneurship of Master P, Tech 9ne, and Mc Hammer. Though when lyricism comes into play, he has often found solace in the gifts of mainstream acts such as, LL Cool J, Common, Chuck D, Poor Righteous Teachers (PRT), and Canibus.

Vigalantee’s admiration of Public Enemy and PRT has helped a great deal in emulating their ability to entertain, while simultaneously educating listeners. He credits the aforementioned for being able to “bridge the gap” between Art and Activism. The leadership of Public Enemy and PRT enabled Vigalantee in using his music to inspire, as well as motivate the Black Community into action.

Earlier this year, Vigalantee released a single, titled “Emmett Till.” Vigalantee had read the story of Emmett Till, whilst a student in High School. He describes feeling an emotional connection between himself and young Emmett Till who traveled similar paths from Chicago to the Deep South. Vigalantee notes that, while popular artists like Bob Dylan, Kanye West, and David Banner have all name-dropped Emmett Till in their songs, “nobody really told the true story of Emmett Till,” – hence, “young people don’t know nothing about Emmett Till.”

There is a “lack of strong progressive voices in Hip-Hop,” Vigalantee says. He also feels that Hip-Hop has become so “elite and arrogant.” Vigalantee remembers the controversy surrounding LL Cool J’s 1989 “Walking with a Panther” album, and the outrage from the, now-defunct, progressive Hip-Hop community. Although he credits the corporate Executives of big-money record labels for drowning “us [progressive Hip-Hop artists] out, so we can’t be heard,” Vigalantee believes the buck starts with those socially-conscious voices who have “dumbed-down” their music for a mess of pottage.

Vigalantee is, hopeful, however, that his music can fill in the missing blanks at this critical period in Hip-Hop’s history. He has been able to “carve out a niche” for himself, and promote music that “feels right.” His newest album (out December 9^th), titled M.I.R.A.C.L.E (“Music Inspiring Real Accomplishment Creating Love Everlasting”) promises to provide spiritual and moral inspiration to those battling with despair at this most emotionally-fragile moment. With a composition of freestyles, poems and ‘regular tracks,’ Vigalantee expects it to be “a hit.”

Beyond his musical career, however, Vigalantee sees the “education of our youth” as top priority.

Vigalantee’s new album will be available at Kansas City Kansas Community College Bookstore, Nebraska Furniture Mart(Village West, Ks), Keepin' It Real Records KCK. For more, pls. visit: http://vigalantee.web.officelive.com/default.htm

Your Black World: Wynton Marsalis Riffs On Jazz, Race & Financial Crisis

Jazz legend, Wynton Marsalis, has a new book coming out. "Moving to a Higher Ground: How Jazz Can Change Your Life," is Marsalis' way of encouraging empathy in a growing narcissistic world. Promoting his new book, the trumpeter payed a stop to Stephen Colbert's show yesterday. Marsalis took time out to share his views on race, the contributions of jazz to our society, the Wall Street bailout deal, and more:

Your Black World: Sister, Can You Spare Some Class: Black Women in the Media

Sister, Can You Spare Some Class: Black Women in the Media
By: Tolu Olorunda
Staff Writer - YourBlackWorld.com

Who can argue with prophetic leader and political prisoner, Mumia Abu Jamal’s assessment that “Black women are the most disfavored of all the nation’s women?” Only a fool would. Black Women, historically, have had to endure the horror of living in a world that screams hatred from its four corners. Like piercing swords drilling a hole into one’s soul, many Black Women are subjected daily to inhumane attacks from the left, right, front, and back angles of society. White Men, whose historical role as the original Slave master still persists, hold steadfast control of the wheels of society and therefore decide in which direction wealth, prestige and honor are steered.

With a 2004 Government report documenting $30,134 as the median income for Black households, one is certain which course the national financial vehicle has traveled. Black men, once devoted protectors of Black Women, now function as “Slave-master surrogates,” in interaction with their sisters. Black Women also have a hard time with confronting the reality that “White feminists,” who recruited them in the 70s for the epic “Gender War,” never abhorred any desire to join hands in the fight for liberation from the shackles of White Male Supremacy. In addition to coming to grips with the rampant racism exhibited in many White feminist organizations, financially-disempowered Black Women also face the firey scorn of well-to-do Black Women who hypocritically blame them for the criminal conditions in whinh they exist. With such precedent, I ask again, who can argue with prophetic leader and political prisoner, Mumia Abu Jamal’s assessment that “Black women are the most disfavored of all the nation’s women?”

The controversies of Tawana Brawley and Anita Hill are explicit examples of the White Supremacist media’s hatred of Black Women. To hide this malevolence, one or two Black news anchors are employed (disproportionately meteorologists), but underneath, the evidence is as overt as Fox News’ bias. In the world of Mass Media, the role of Black Women has traditionally been dual-natured: “The stereotypical, angry black bitch” or “the regurgitating, self-hating, conservative mouth piece” – a la Amy Holmes & Tara Setmayer. Any other attribute is vetoed or outlawed. Fox News reporter, Cal Thomas, bore witness – though unknowingly – to this reality earlier this year. Thomas was quick to point out that Black Women of sophistication are a rare commodity on Television screens because of the White male supremacy culture that revels in the demonization and objectification of Black Women. Cal Thomas, a man of low intelligence, made a blunder, however, in confusing passion for anger:

“Look at the image of African American Women who are on television. Politically, you have Maxine Waters of California, liberal Democrat. She’s always angry every time she gets on television. Cynthia McKinney, the former Congresswoman from Georgia, was another angry black woman. And who are the black women you see on the local news at night in cities all over the country. They’re usually angry about something. They’ve had a son who has been shot in a drive-by shooting. They are angry at Bush. So you don’t really have a profile of non-angry black women.

With corporate America’s grip on Commercial Hip-Hop Culture tightening by the hour, the commodification of Black female bodies takes on a whole new context. It is no coincidence that Queen Latifah, who once embodied the symbolism of a Black goddess, is today, nothing but a sad spectacle to behold. The once-upon-a-time pro-Black militant-minded and feminist Queen Latifah has become a washed up Hollywood product, with an appetite for destruction. If Viacom and other big-name corporations within the Hip-Hop beltway were to exist unimpeded, Trina, Lil’ Kim and Remy Ma would represent the holy trinity of female artistry in Hip-Hop. But such inference would be problematic because, for every Trina, there once was a Nefertiti; for every Lil’ Kim, there once was a Moni Love; and for every Remy Ma, there once was a Lauryn Hill. Unfortunately, a self-respecting, knowledgeable and highly-educated female artist like Lauryn Hill is deemed radioactive in an industry built around the exploitation of diffident young Black Women.

Many younger Blacks are familiar with “Tip Drill,” and the horror of Hip-Hop music videos. In this particular video, the rapper Nelly is featured swiping a credit card down the gluteus maximus of a Video Vixen. As expected, this despicable act – deemed entertainment – was beyond the pale for certain Black female activists who perceived it as the last straw in their accommodation of misogyny in Hip-Hop. In 2004, Nelly was scheduled to visit the Black female College, Spelman, for a bone marrow drive. Unbeknownst to Nelly, a few Spelman students didn’t quite consider his music to be that “entertaining,” and had drafted a plan to see how much of a man he truly was. “The Spelman sisters,” as they’ve come to be known, challenged Nelly to a forum to address the issue of Black female Exploitation in Hip-Hop videos – particularly with regard to his video, “Tip Drill.” As one might imagine, Nelly swiftly turned down the offer, appearing to be more concerned with his image than the dire issue of bone-marrow transplants. The way the Spelman sisters figured, a bone-marrow drive is equally as essential as a healthy soul. The Spelman sisters sought to question the conscience and motive of a man who would openly denigrate the legacy of Black Women, but claim concern to the sector of their organism that guarantees blood circulation – hence, life.

The morally decrepit performance of artists like Nelly has granted ample leverage to White-controlled media channels such as Vh1 to promote shows that defile the integrity of Black Women. Vh1, a subsidiary of Viacom, has done more damage to the self-worth and decency of Black Women than any other channel in recent history. Vh1 has skillfully structured its programming in such a way that an untrained eye watching it might be misled into believing that Black Women are naturally promiscuous and adulterous. Some might even fall victim to the lie that the availability of young Black Women on Vh1 reality shows is ample proof of culpability or willingness, but such inference would suggest that if those same Black Women were paid the exact share of incentives to appear on a morally upright and spiritually nurturing show, they would decline instantaneously. By this measure, it’s presumably evident that White male executives of big media are easily satisfied with a Black female constituency whose preoccupation with self-deprecation runs afoul of the legacies of Fannie Lou Hamer, Harriet Tubman, Barbara Jordan, Rosa Parks, and Callie House.

It is no surprise that the same media which revels in the destruction of Black female identity seeks to fulfill the same with today’s most important Black female: Michelle Obama. More disturbing is the reality that Michelle, like prominent Black public figures before her, lacks the confidence – there’s certainly the willingness – to, quite simply, be herself and refuse the Obama camp’s incessant attempts at recreating her into a “submissive, all-American first lady.” One thing is for certain, however: Black folks of consciousness have their work cut out for them. For Change is not an empty rhetorical stunt, but rather a fortified, systematic dismantling of a historical structure – especially one which has oppressed, repressed, depressed and suppressed the hopes of a mighty race.

Reposted From Black Commentator