Rap and Hip Hop music is usually consumed by teens and young adults. It is thought to be a more urban genre due to its content, which often describes living in poverty, gang activity, violence, drug use, and often also refers to rising above these things and achieving financial power and respect. The energy and power associated with these types of music is very attractive to American youth culture, and the rap industry is thriving and highly influential. This music is opposed by older generations for its offensive content, favorable positioning of violent conflict resolution, and blatant references to sex. African Americans may also oppose this type of music because it paints a very single minded, often derogatory picture of Black culture.
Eric K. Watts, in “An exploration of spectacular consumption: Gangsta rap as cultural commodity,” questioned why rap music is able to be marketed in this country despite its content, which is often deemed inappropriate. He notes that Gangsta rap narratives often discuss African American male identity and their social experience. These narratives talk about living in urban America and making ends meet. The demographic that identifies with this music is primarily urban, black youth. They relate with the references to ‘street’ as well as ‘indecent’ behaviors and understand the circumstances which drove their favorite artist to take part in the confrontations, illegal activities, and uplift material possessions. The idea of making ends meet is a desired theme of rap music fans and valued because it shows opportunity for everyone. Wearing similar jewelry and clothing, as well as owning CD’s from their favorite rapper, makes urban youth feel that they are one step closer to success and power and this group creates a huge market for cultural products of the rap industry.
Somehow this genre, which most would guess was alienating to a majority of the country, has gained mass appeal. When observed through a critical lens, one starts to notice that the issues discussed in rap narratives often coincide with larger American culture values such as consumerism and the love of material wealth. Young people in any demographic group are able to latch on to the common thread of materialism and rebellion and are then able to relate to rap music and its content. According to Watts, young people “can share in an artist’s attempt to ‘live large’ by replicating and consuming the imagery”. Those who live a life style similar to that which is referenced in rap music relate to the idea of the rapper being a product of the ‘street;’ but White American youth, as well as other demographics, are able to relate to this genre’s general principals, because rap songs have powerful messages that draw a mass audience in.
Watts refers to a term called spectacular consumption, which he claims leads Americans to “over-value, and sell the ‘street’ orientation”. Even though many young people may not live an urban lifestyle, the popularity of this culture causes youth to value it anyway. Rap music has achieved enough popularity and power to be considered ‘cool’ and sell. Watt argues that “hard-core rap artistry participates in a complex and fluid set of economic exchange relations among the lived experiences of artists, the operations of a consumer culture, and the dictates of rap music industry.” He also notes that racially provocative material sells and that black cultural artifacts are currently considered ‘trendy.’ Overall, the mass production of rap and hip hop music and the promotion of its products, coinciding with the values and messages of its artists, lead this genre to be one of the most consumed in American pop culture today.
