Liberty and creative freedom should remain at the forefront of any decision within music. Just because artists are given back creative control does not mean all music will be perfect. Failure is needed. If artists do not learn how to fail, they will never learn how to succeed. In the market process, the rap world, and in the classroom, failure can be considered as important, even more important, than success.
Economics is all about signals, and failure gives the necessary signals to an artist that what they are doing is not connecting with the audience. By giving artists total control over their music, the artist regains the incentive structure to create quality music.
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Coercion by record companies restricts options, while incentives increase options. The more options and freedom given to the artist, the more authentic and enjoyable the music will be. A monolithic record company is not what provided hip-hop with the advances of the past decade. It was artists voluntarily coming together to collaborate; form groups, and exchange beats, ideas, rhymes, and sounds.
It was young kids selling CDs out of their trunks using their entrepreneurial spirit and unhindered by regulation. Recently, it was courageous changes in sounds by artists like Kid Cudi. It was refreshing newcomers like Kendrick Lamar and duo albums like Distant Relatives. It was the fierce competition of new producers that had artists begging for specific beats. It was new conceptualized concert tactics by Kanye West. Rappers are constantly competing for the newest slang, starting the newest trends, making unrecognizable hooks, creating unforgettable collaborations, and touring globally.
Competition is what drives the market, and when rap competition is fiercest the quality is highest. Innovative ideas pop up to continue supplying the demand that does not go away when something is made illegal or the government has monopolized it. Hip-hop is no different.
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To contrast these large radio stations such as Hot 97 or Power There is a market for specific blogs and a demand for certain types of new songs that are listed daily. Hip-hop culture has demanded websites for the newest in fashion, music, and art and that demand has been supplied. Distribution through a corporate entity is no longer needed for some. Physical sales of CDs are dropping and the Internet has been instrumental in giving choice to the hip-hop consumer while the record companies and radio stations are trying to tell people what they should be listening to. Remaining independent allows an artist to flourish as they make exactly what their heart desires.
Hot 97 is the Federal Reserve of music. The Federal Reserve manipulates interest rates causing artificial investor spending and saving. Likewise, the radio system in this county promotes illegitimate rap music and an inauthentic reality of hip-hop culture. Hot 97 promotes the mirage of rap while the Fed promotes the mirage of wealth.
The market has been greatly distorted. Songs with the rhyme scheme of a first grade haiku make up the majority of radio songs. Rap fans who want legitimate rap music find themselves downloading mixtapes from the internet. The radio has distorted the market which throws off signals to young and established rappers alike. Young rappers now see this first grade rhyme structure and substance-less lyrics as the ingredients to a successful rap career. Rap is now run by inauthenticity. Hip-hop must live by the rules of supply and demand just like any other service or good.
He says rappers have begun to put records out when there is no demand and have oversaturated the market for good hip-hop. As rappers continue to release songs when there is little to no demand for their music, they are over-saturating the market and thus lowering the value of their own records. With so much low-quality music now in circulation, rap as a whole has seemed to decline.
Rap music, at its most natural and untouched form, is the most glorious example of a free market. One of the more fascinating components of the hip-hop world is the dress and slang. Economist Joseph Schumpeter would be proud to see the progression of words being killed and styles ended in the name of creative destruction.
As of right now, the newest trends and slang are being developed by some rapper somewhere and both the artist and the audience are unaware of its formulation. Rap also resembles a free market because of its lack of regulation. The only true government regulation in the rap world is the FCC. Whether you agree or disagree with the FCC, it has not done a very good job. Aside from this regulation, rap music remains free from government tyranny. Critics will cite the pursuit of capitalistic profit as the driving force behind rap deterioration.
They claim hip-hop should be for the fun, the lyrics, the music, and not the profit. They argue that somehow a profit scheme will lower the quality level of music. Hip-hop was brought to the forefront of music when the early hip hop was found to be profitable. DJs began providing music for parties as emcees started to rap over beats. Soon, partiers knew they needed a DJ and emcee combo in order to have an enjoyable party.
The potential for profit was acknowledged which drew in creative people posed to make a buck and an enjoyable song.
This began to spread rapidly and hip-hop took off! The profit motive is what expanded hip-hop, not destroyed it. Music needs to become anarchic.
Anarchy, contrary to popular belief, does not mean chaos. Anarchy simply means lack of a central authority. This means the industry is organized bottom up, not top down. Government, or authority, usually arises in the place of a free-market failure.
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Where is the music failure? If anything, rap music was continuing on a magnificent rise when mega-corporations began corrupting radio stations and labels. The fans are partly to blame for this rap predicament. Rap fans have stopped demanding music art, and record companies have turned their backs on supplying it. Fans now demand a catchy beat instead of meaningful lyrics. The market would naturally provide for smaller record labels with individual niches but the central planners have killed it off like a recessive gene in a population.
Fans must demand hip-hop music that promotes the creative and intellectual ideas of its most major players. Spontaneous order must replace central planning within rap music. It is time to return the power back to the artist and the fans. The true rap degradation has come from central planning: the process of record executives trying to micromanage artists and their music from behind a desk.
bendmullongbama.ml One only needs to research the outrage by Atlantic Records over the coercive decisions regarding their artists. Ask yourself why some artists put out mixtape music that is completely different from the music on their CDs? An art form that was once the voice of the youth, the voice of the downtrodden, and the voice of the unrepresented is now the voice of corporate music punks. The solution is simple: return to the conditions within hip-hop culture that produced rap music.
We must return to a place where artists decide their creative fate and fans have listening freedom. Rap music needs a revolution — a free-market revolution based off individual liberty. Rap music and hip-hop culture has transcended all expectations its originators had on the streets of the South Bronx over thirty years ago.
It has globally expanded and penetrated culture continually. The last 20 years has seen a scary rise in the central planning that has become commonplace in the world of rap music. Centrally planned record companies have a harmful rather than helpful effect. Musical artists are some of the most creative and imaginative people this world has to offer.
Rappers have the innate and incredible ability to tell stories using complex language over robust beats. These artists should not be controlled, their albums should not be centrally planned, and their careers should not be crammed into a one-size fits all policy for rap music. The rap market is heavily distorted and needs an urgent correction. Economics is about signals. Record companies and radio stations have thrown off the incentives, mucked up the signals, and are hurting the consumers. The rappers, too, should be blamed! They continually make status-quo records purporting the same unoriginal claims they say they stand against.
The false sense of rapper rebellion leads young listeners nowhere. When rap first appeared on the scene it attacked conventional music, shot back at politicians, called out authority, and told messages of life, passion, culture, and love; but the fact is that early hip-hop took off because profit was possible. Whose voice is this? He sounds… familiar.
Well, on the whole that was… okay. When the beat switches and the drums kick in, my soul Harlem shakes. So glad Big Jerm is still working with Mac, these two are magic together. Based God!
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