Ms Dynamite

Rap video is coming of age and many are wondering what kind of future is in store?

"Without freedom, no art; art lives only on the restraints it imposes on itself, and dies of all others." -- Albert Camus (Resistance, Rebellion, & Death)

Today, seemingly countless images of African Americans and other multicultural imagery are served daily to millions worldwide in rap videos and the many rap-influenced r&b/garage/pop spin-offs. To properly consider the possible future of rap video, we must take a look at the impact of rap, socially and economically.

The music video was born in the 1890’s when George Thomas first used projected images with music to entertain audiences. Over a hundred years later, the modern music video has evolved into a unique art form, and the rap video is an important part of the family. The undisputed godfather of contemporary mainstream rap video is Hype Williams. His atmospheric videos created with artists like Busta Rhymes and Missy Elliott have transformed the vision of a generation. Established as a significant force within the entertainment industry, Williams now shares the limelight with directors and producers like his protégé Little X, Paul Hunter, Benny Boom, and Martine Capalbo.

Women are involved within the rap video industry at every level says Capalbo, who produced Lauryn Hill’s award winning Doo Wop (That Thing) which was named the 1999 MVA Best Video of the Year. As producer of some of the most influential rap videos, Capalbo points out in a recent interview, “Clearly most Rap videos are self-referential. Every now and then someone comes along like Hype Williams and changes the way videos are made…The medium of television ends up pumping the same cultural influences everywhere at once, whether it is mainstream America or South East Asia.”

The rap video has definitely grown up, both as a powerful marketing tool and as an art form. Browse through music videos by pop icons influenced by hip hop culture’s style and fashion and you find the likes of Madonna, Justin Timberlake, Red Hot Chili Peppers. Mainstream video and music artists represent a multifaceted, lucrative empire where the music is intertwined with the realms of film, fashion, digital media and multinational conglomerates. Many rap artists have control of their own merchandising. Artists like Jay-Z, P. Diddy, and Missy Elliott exemplify the essence of a new age of cultural convergence. Similarly, the history of the blues saw performers like Bessie Smith leading the way as both artists and entrepreneurs.

Ja Rule

Economic triumphs aside, the images in music videos have long been the subject of heated debate. Styles do vary, from chart-topping political lyricists Black Eyed Peas and Ms. Dynamite to the hardcore party sounds of Ludacriss and Jay-Z. But the gangsta rap image, as with Nas, Ja Rule, and 50 Cent, receives the most overall attention. The gangsta style tells a tale drawing potent images from street life, often using explicit sexual references and violent or self-aggrandizing descriptions. Mainstream music videos rarely render images of women beyond the ‘big booty’ party girl.

Rita Gayle, video producer for Homegrown, an independent UK publisher and media company, says, “As a woman who loves hip-hop, it saddens me to see the way 90% of rap music videos portray women….Having sexy, near-naked women cavorting around some guy who rhymes sells records…It’s not all bad news though. Look at Missy Elliott and Lil’ Kim – No one can say these women are not in control of their careers.”

In 1996 the American Academy of Pediatrics studied over 500 music videos (including rap) shown on several of the top music video channels. The study demonstrated that African Americans were overrepresented as both aggressors and victims. Such reports reinforce concerns about the impact of music videos, in particular rap videos. There is growing public anxiety about the link between black music and increased violence. In the wake of the fatal Birmingham shootings, UK Home Secretary David Blunkett stated in January 2003 that he would like to see record companies “put money back into communities".

There are obvious parallels to the public perceptions of 1950s youth culture when the blues gave birth to rock and roll. As explored in ‘Rap Music Videos: The Voices of Organic Intellectuals’ by Linda Dee Dixon Bowling and Patricia A Washington, this early black music form was increasingly demonized and, like rap music and hip hop culture today, the largest audience for the music was predominantly white youth .

Critic Simon Remark writes for numerous Hip Hop print and online publications. Remark believes the future of rap video is grim. “…Hip-hop is becoming more and more commercial--and not that it's a bad thing that rap is selling loads of records….it is the responsibility of the gate keepers, the programmers, to play conscious and creative music.”

Yet, critics and supporters alike reject the idea that rap is responsible for rising youth violence. Jordan McGarry and Vez co-produce Antenna, a bi-monthly creative video event at the UK’s bfi National Film Theatre. McGarry says, “I think artists, directors and producers do have a responsibility - when violence or anti-social behavior is glamorised on screen it does send out a message to young fans but blaming So Solid Crew for the rise of gun culture is as ridiculous as blaming Marilyn Manson for the Columbine high school shooting…Blaming any sector of the music industry for all of society's problems is passing the buck.” Music industry insiders maintain that marketing is primarily consumer-driven and sources suggest that today’s rap music audience is at least 70% non-black. Rap music and the accompanying videos appeal to an increasingly multiethnic and socially eclectic audience. USA Today has reported that the most listened to music on American radio is rap and at least 40% of Top 30 music charts are rap/r&b hits.

Missy Elliott

Artists like Black Eyed Peas, Missy Elliott, MC Lyte, Mary J Blige, Public Enemy, and Jeru the Damaja have shown that it is possible to achieve financial success and create videos which push the boundaries of storytelling in music videos. McGarry says that the artist’s video image depends a lot on the artist. “You often see stars having a co-directing credit on their own videos, and since it's their money paying for the video, you would expect them to have as much control as they like…On the lower budget end of the scene there is some great work around, with directors working with the stars, using elements of the hip hop scene, like street art and break dancing to create really fresh looking videos.” McGarry cites inspired work by Logan with Jurassic 5 and Money Mark and Ruben Fleischer's videos for DJ Format.

Directors like Little X, now working with dancehall artists as well, have begun to move beyond accepted boundaries of hip hop cultural representation. McGarry and others suggest that as rap continues to grow in prominence and financial success perhaps more video makers and music artists will feel freer to demonstrate more vision. “The future is very bright,” says Gayle, “Lower costs and equipment ownership could truly offer the time and opportunity for real creative endeavour. I think Rap will be around for a long time – It’s no longer a product of pop culture – It is pop culture.”.

Endnotes:

PBS Web site: http://www.pbs.org/wgbh/amex/kids/tech1900/music/

The American Academy of Paediatrics, 1996 study

Blunkett to target rap producers, January 6, 2003; Guardian Newspaper;

UK Revista Transcultural de Música/Transcultural Music Review, 1998: http://www.sibetrans.com/trans/trans4/dee.htm

USA Today, 2003: http://www.usatoday.com/life/music/news/2003-07-02-airplay_x.htm

photos courtesy of Umusic and Warner Music