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| Urban Playground Authentication |
Authenticity or "keepin it 100" is huge in Hip Hop. Hence, cultural practices are a critical part of understanding what drives consumers to connect with a product to the point that they purchase it. In the assigned reading for this section of the course, we bare witness to examples of Hip Hop entrepreneurs finding opportunity in areas that extend beyond the immediate instigators, practitioners, and consumers of the culture.
How did individuals like Sean Combs, Sean Carter, Steve Rifkind, and Rza leveraged the success of
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| Sean "Jay Z" Carter and the ROCA WEAR Brand |
their music with vision that penetrated the fashion, movie, sports, automobile, and food industries? What do they possess that may be in your spirit to shine with an idea you have or a venture you are currently building?
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| The Mighty WU-TANG CLAN |
I would like you to glean from this section and understanding of how to connect your spirit with the resources you have to make something happen, in the immediate, with the vision necessary to keep it moving. You should leave this section of the readings with an understanding and ability to discuss in your commentary how
- Hip Hop was used to connect with the sports and fashion industry.
- individual personification in Hip Hop provided individuals with the ability to use their "swagger" to build brands.
- new methods in marketing and promotion emerged as a result of Hip Hop, and give examples of how corporate America has used those methods to market products.
- you see the spirit of Hip Hop in variety of products. Please provide examples.
- bootstrapping was used to kick off or extend an artist's brand. Give an example.
This is an excellent read. It is especially motivating for people trying to start companies around disruptive technologies as people at first are always resistant to change. However if we sell ourselves with charisma and a brand that incites emotion, then we are in business, cause nothing like emotion incites a consumer to change their behavior, or adopt a new technology or even a new way of thinking. Consumer behavior otherwise is really hard to change! Think about the bar code scanners! It took then 2 years from ideation to reality just cause they tried to brute force the problem. Another, example could be the qwerty keyboards! Early typewriters got jammed if you typed very fast, so the keyboard was specifically designed to make typing harder. However people got so habituated to using the qwerty keyboards, that we still have them on our laptop today! And laptops don't jam! Lol.
ReplyDeleteThis is how art aids technology to grow, We are all emotional creatures in the end, we can claim to be beings of logic, and some of us are more logical than the others however emotion still, and will continue to factor into our decision making process, and thats awesome for entrepreneurs like ourselves!
Asu, I understanding what you are saying, however, you need to make certain your response is within the context of the readings and cite examples based on what I anticipate you gleaned from the readings and then you can tie that back to your own entrepreneurial spirit. Context, context, context...
DeleteHip-Hop has certainly created one of the most innovative forms of music marketing that has fundamentally changed how artists make money. With the rise of digital music distribution and rampant piracy, hip-hop has responded in a way that is fairly contradictory to what most other genre's are promoting. The notion of the free mixtape has become an essential marketing tool, allowing fans to keep up with artist releases without having to wait for general album deadlines. Many artists have used mixtapes to boost their popularity even more so than album releases. Furthermore, you have artists like Chance the Rapper who no longer even charge for their music.
ReplyDeleteThis has been fueled by artists realizing that they are able to make more money selling themselves as a brand rather than selling their actual music. The music has become another marketing tool to establish the authenticity and popularity of the artist which they can then utilize to sell more profitable products like clothing, alcohol, or other brand endorsements. In business this is referred to as a "loss leader", an often free or largely reduced-price entry item used to draw people into making more significant purchases. I believe hip-hop's ability to adapt to such methods in the music industry is what has kept it so highly relevant for decades.
Helom, you are totally on point. I never heard of the phrase "loss leader," but within the context that you are explaining it makes total sense because of the way music is sold these days. Hence, having a lifestyle that is marketed to reflect excite is really the only way to get your music moving. However, it has to be a part of a total package. Social media has sold us on the idea that in order to be relevant our lifestyle has to be liked and music is only one part of that dynamic. Donald Trump is showing us that it is his lifestyle as a "winner" is more important than his political acumen. America sells the idea of achieving the "good life." Hip Hop has become the medium to sell the idea of the good life over a dope beat.
DeleteThe manner in which Hip-Hop moguls rise to fame and fortune is fascinating. Regardless of their initial intention, artists like Sean Combs, Sean Carter, Steve Rifkind, and Rza managed to leverage Hip-Hop as an enabling force for achieving success far greater than the success of a mere musical artist. They became moguls by compounding one feat after the next, in a way which in undeniably entrepreneurial. We see this sort of thing in technology all of the time. The most elite tech entrepreneurs are experts in seeking out opportunities, and using one successful venture to fuel the next. For example, Elon Musk did just this with PayPal, followed by Tesla, followed by SpaceX. One venture after another, each one requiring an increased level of time, money, and effort compared to the one before it. But Elon Musk had private school and his father’s money early on to get him going. Most of these Hip-Hop entrepreneurs were not nearly as fortunate, and had to become true self-made individuals. In the words of Drake, “Started from the bottom…”.
ReplyDeleteFortunately for men and women of Hip-Hop culture, what they do have from the beginning, regardless of what sort of income their families make, is a heightened awareness for seeking out and setting trends. Especially when it comes to setting trends, Hip-Hop artists can gain a huge following by being themselves and establishing a unique and relatable brand. What makes some Hip-Hop artists popular is their authenticity, and if they can translate that authenticity into a venture beyond just music, that artist can reach the ranks of the moguls listed above.
When it comes to “keepin it 100”, there is a big difference between putting a popular face on a product to increase sales, and embedding a persona within a product from the very beginning. We watched a car commercial earlier in class where an elderly gentlemen went golfing with Snoop Dogg. This establishes a weak connection with Hip-Hop, and might increase sales of that car, but it does not make that car company authentic with regards to Hip-Hop. When Dr. Dre goes out and sells his Beats By Dre products, it is a completely different ball game. He might be a similarly popular figure in Hip-Hop, but his skill set and personality is woven into the fabric of his company. Customers recognize that, and that’s what has made Dr. Dre one of the most, if not the most, prolific Hip-Hop entrepreneurs in the game. Real recognize real.
Zach, well said. Authenticity, authenticity, authenticity is what provides longevity in the Hip Hop game. Puffy Daddy is the master of remaining authentic within the context of being an entertainer, not a great rapper. Moreover, he also understands how to market the brand of "him." Meaning he has created a voyeristic lifestyle that appeals to individuals that want to reflect the persona of a baller life. He is the cultural industrialist that understands the importance of rebranding in the Hip Hop game.
DeleteTo become successful rappers, bridges were made between hip-hop and the sports and fashion industries. By having the latest fashion, rappers used their swagger to sell their personal brands to the youth of America. This is related to what Helom said about “loss leaders,” that they will be willing to accept losses on their music production if it helps them sell themselves as a brand. Such an example that initially met skepticism was Wu-Wear. However, the members of Wu seared the mark of “W” onto their clothing line to great success. This was an important lesson for the children, that anyone of a disprivileged background could seize an entrepreneurial opportunity if they chose to “do you.” What other lessons were Wu-Tang trying to teach the children?
ReplyDeleteI should start off by saying that I had no idea that this reading was going to be about, arguably the greatest rap group of all time, Wu-Tang Clan. Looking at the questions that were given us to think about while reading, the first thing I realized was that corporate america used the Hip-Hop mentality of selling mix tapes but with finding the artist instead of selling the artist. In the reading it was discussed that corporations would develop street teams in order to find the newest artist and to help find the hottest mix tapes and they would have to report ack to them if they wanted to get paid. The most famous of these arrangements is that of Interscope records who paid $15K a month to promote Tupac and others mix tapes. Also companies would give cool clothing and "swagger" to street teams so that they would rep their company. This swagger helped promote the brand of the company because if a street team was seen with Tupac at his show, people became more aware of them as a company because of the association of Tupac.
ReplyDeleteThe most important thing i took away from this reading is that of how The Wu-Tang Clan actually didn't get screwed during their record label. Up to that point artist hadn't really taken control of their art and their contracts. What The Wu did was revolutionary. They told the world that they can make music with whoever and whenever they want...no matter who they are signed to. In the readings they said that they became a brand, and their "W" mark would brand the label making them the Wu's property. After the rise of the Wu and how they revolutionized the industry, a lot of corporations decided to look towards hip hop to promote their brand...the most famous of the bunch being Nike and Reebok putting their advertisements in Vibe Magazine. Timberland (a boot brand) didn't want to affiliated to "Black culture" (even though they increased sales in 92' by 45%) so they didn't put an advertisement in the paper. More notibaly we can look at Sprite (Coca-Cola Corp.) and how they used Kid n' Play in their rise, and now they use Drake to promote their brand. Adidas hopped aboard when Run DMC took their adidas and made them into a must have item (better than athletes could hope). A lot of artist took control of the branding system and made sure they were getting their cut before anything happened on the marketing end. One thing that Vibe magazine did with hip hop was add fuel to the fire. People like controversey and Hip-Hop was no different. East vs West was the Ali vs Frazier of Hip-Hop, and Vibe ate it up, and more importantly people ate it up even more.
In terms of boot strapping, two companies come to mind... Death Row vs Bad Boy, Suge Night vs Sean "Diddy" Combs, East vs West. These companies started from nothing, but did well because they were ran by, in my opinion, geniuses. Suge, although crazy, knew how to get the artist to perform and knew how to get what he wanted. The opposite end we can look at the clean cut Diddy. This man had/has an eye for talent and was always working on the next big thing. Both of these guys downfall was that they were disrespectful in a ever changing industry that demanded respect and wasn't going to be treated with disrespect at all. This is why Dre left Death Row and why Diddy was fired originally from his magazine career. As a quick mention we can not forget the likes of Roc Nation with the Jigga Man, JAY Z himself.
It takes “the soul of a poet, and the instincts of a killer” to win. Poetry beckons creativity. Killing requires one to unscrupulously take what he/she wants. True bosses know when to channel both.
ReplyDeleteJAY Z (Sean Carter) is amongst the most prolific rappers in Hip-Hop; he is a creator. Even with an ability to emotionally curate the painful riffs-and-runs of “Soul Cry” — one of the concluding records on the Blueprint — Carter demonstrated the B-side of his character when he coldheartedly cut ties with his longtime friend and label cofounder, Dame Dash. As Dan Charnas insinuates, Carter’s decision to end that 10+ year relationship seemed motivated by corporate ascension and personal gain.
Russell Simmons imagined a home for Hip-Hop music and its artists; he desired a company akin to what Motown was for soul singers. However, Russell’s heart was not always warm and welcoming. His tongue hissed and occasionally bit into the butts of his employees and partners (especially those who negatively impacted company operations). Despite his visionary genius and friendly persona, Simmons knew when to be confrontational.
Similarly, 50 Cent (Curtis Jackson), who was dubbed as a modern Tupac, was celebrated for being able to compose a song from top-to-bottom and still communicate a poignant narrative! Even with a painter’s soul, Jackson unrelentingly excommunicated two members of his entourage (Young Buck and the Game), while shamelessly slandering Ja Rule (his rap nemesis) after he’d already been declared the winner of their rap feud.
In short, these three men are creative. Collectively, they’ve created top-notch music streaming services, instituted polished ad campaigns for renowned athletes, sold a sports drink to the leading soda-brand in America (for more than a billion dollars), and pioneered the music industry’s most successful label for Hip Hop, which houses the best music in the world. They know two things: business requires exploratory thinking, and sometimes, it necessitates that one is cutthroat. In essence, moguls must serve as pseudo-deities. They create for the world, and take from it. The best innovators do – it’s termed as creative destruction (shouts to Joseph Schumpeter for recognizing this in 1942). For instance, every few years, Intel removes one of its microprocessors from the market, in lieu of one that performs better. The Christian Science Monitor, a newspaper company, stopped printing papers and opted to only publish digital content. Apple discontinued the iPod when they recognized phones should perform the same function. Now, they are wildly successfully at selling phones. Great entrepreneurs create (exhibiting the soul of a poet), and execute decisions effectively (harnessing the instincts of a killer).
This said, Hip Hop became a platform to uplift those who were excluded from generating wealth in other sectors. Hakeem Seriki, Kanye West, Christopher Bridges, Pharrell Williams, Andre Young, Calvin Broadus Jr. leveraged the culture to bootstrap other businesses (and they all embody the two, aforementioned characteristics). These moguls remained steadfast in creating businesses that related to their interests and specialty. For example, it makes sense that JAY Z created a sports management firm; he’s a sports enthusiast. It would not make sense if he entered the high fashion world; after all, he hasn’t publicly shown any interest in creating coutour garments. Even so, I would trust JAY Z’s ability to manage my sports career, as opposed to creating a luxury fashion line (and no, Rocawear does not qualify).
Let’s remember, Hip Hop culture was bred from authenticity. When DJs gained popularity, kids could choose which DJ to frequent. Your listeners could make or break your act. As a result, DJs had to determine their unique value proposition and sell it. Even now, if a rapper’s cadence and flow are dull and/or their lyrics are unoriginal, they’ll lose respect and credit (especially, if he or she has just started their career). When Tupac’s demo was introduced to Ted Field (of Interscope Records), “the lyrics, about killing cops to defend oneself, were brutal. But to Field, they represented truth” (Charnas 428). Being 100% separates one-hit wonders from superstars. Hip-Hop was born on this notion; Field understood this; and if nothing else, a rapper can always claim that he or she kept it real.
ReplyDeleteThis said, which products are inherently Hip-Hop? How can a product be authentic in its creation and purpose? Well, let’s consider one case. 50 Cent doesn’t drink, according to Dan Charnas. Jackson was surrounded by alcoholics when he was younger. As result, he vowed to take care of his body, and exercised multiple times a day. It was his narrative and healthy lifestyle that made the Vitamin Water collaboration perfect — besides the fact that Jackson’s first promoted drink was called “50/50”. This was an authentic product created from Hip-Hop culture. Without Jackson’s investment, Vitamin Water would not have nearly been as successful. That’ bona fide!
The lesson: products cannot simply be endorsed by a Hip-Hop artist, and expect to sell. The story of the artist and the product have to mesh. It has to make sense.