The Success Of Rap

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people, specifically teenagers, was and is seen as rebelling against parental figures and mainstream society (rap is becoming more mainstream so maybe this aspect doesn’t hold true so much anymore). While being completely rebellious through buying and listening to rap, many probably did not realize that much of the music is anti-white. A friend of mine recently told me during a conversation we had about Public Enemy that, “yeah, I was a huge PE fan, I listened to them all the time; but I cut down when I realized that they used extremely anti-white lyrics!” This early protest rap did not contain much support of white America, but was supported by their teenage offspring. This rap seen through the eyes of white America back then can be seen (not necessarily accurately) in a spoof on protest rap in Howard Stern’s movie “Private Parts.” Stern says, posing as a black weatherman, “kill, kill, kill, the white man.” This rap was more or less eaten up by those rebellious white teenagers to a ...

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availability and decreasing prices for recording machines to make bootleg copies of albums to sell in the ghettos. This affects rap groups ability to be successful on the sole support of the constituents of their communities: the ghettos. This creates a music form that cannot sustain itself only with its own people; there is the need for some outside influence in order for rap and hip-hop artists to be successful in the recording industry. Being successful meaning not only with having your music heard in a myriad of venues but also having the cash flow to continue a career and achieve the what most artists want to do: make more albums. This is where the upper classes, non rap-making ...

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