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Popular Culture Review
U.S. Now what seemed to be a passing trend, chronologically fitting between heavy
metal and alternative rock, has become the chosen platform of rebellion for youth
(Hilbum, 1998, p. 6; Stauss, 1998, p.E3). According to Russell Simmons, hip hop’s
first millionaire entrepreneur and chainnan and CEO of Rush Communications,
one reason rap is so popular stems from the resistance it has been met with. The
more resistance surrounding a product, and the more controversy generated by its
popularity, the more people are going to want to buy it. The heated debates that
took place in the late 1980’s and early 1990’s and the movements to censor the
lyrics of rap music initiated by individuals such as Tipper Gore and C. Delores
Tucker only spawned sales of rap music (Lewis, 1998, E3). In fact, the infamous
group “2 Live Crew” henefitted from their highly pu blicized court case based on
First Amendment infringement rights (‘i s Rap Music Here to Stay?” p. 56).
A good example of how rap and hip hop have cut across ethnic boundaries
can be found in the Asian community. In Los Angeles, there is a blossoming Asian
American rap scene, consisting of groups like Buhula Tribe, Undercover, Asiatie
Apostles, Brotherhood from Another Hood, the Seoul Brothers, Lani Liiv, and the
Boo-Yaa Tribe. These groups represent various styles. Messages range from social
issues such as hate crimes against Asians to relationships between blacks and
Koreans in nearly every major city (Perkins, 282). White rappers such as The Beastie
Boys, 3rd Bass, and Vanilla lee have also had success in the industry. Cypress Hill,
Fat Joe, and Big Punisher, are Latino artists who have impacted the hip hop culture
as well (“Is Rap Music Here to Stay?” p.59). The overall message of this music is
the same. It is cool, didactic, and unabashedly rebellious. According to Russell
Simmons,
Hip hop has transcended beyond just music. It has become a
lifestyle and/or a culture for people worldwide. Hip hop is an
attitude and hip hop is a language in which a kid from Detroit
can relate to a kid in Hong Kong. Seventy-five percent of our
audience is nonblack kids. Now you have kids in Beverly Hills
are now sensitive to situations in Compton (CA) (“Is Rap Music
Here to Stay?” p.59).
Simmons goes on to state that although racism still exists in our society, it was not
strong enough to thwart the collective enjoyment of rap by the youth of America
and around the world.
The overwhelming success of the hip hop culture has prompted various
industries to pay attention to its appetites. Sit-coms such as the Fresh Prince o f Bel
Air, Martin, Malcolm, Steve Harvey, and The Jamie Fox Show all capitalize on this
popularity. In the past, black humor appealed to few outside of this population;