The War In A Rack
SkullLab
58 Posts
dont know how many of the non-UK cats on here have heard of Soweto Kinch but he is a badass jazz saxophonist / hip hop emcee.very interesting article please read yo dude drops knowledge!! 
taken from dudes myspace blogSocial engineering through musicIts now over 7 months since Tales of the Tower Block was released: still the major high street retailers refuse to stock it in the urban music sections. Irreparable damage has been done to the album sales, to the point that it has jeopardised the release of Basement Fables, the second part of the story...Tales of the Towerblock gained new hip hop audiences - I had record of the weekend on 1xtras Twin B show with Everybody Raps which has also received lots of daytime play on that station. We had features in HHC, Echoes, Touch Magazine. Ras Kwame Radio 1 live session, Rodney P & Skitz were playing the record, along with many urban Djs. Still retailers wouldn't move it to both sections, and punters were going into the record shops and not seeing the album because of where it was placed.As a result of the album being tucked away in the more obscure jazz/classical basement of record stores, the release of Basement Fables has been seriously compromised. This is all happening at a time in which retailers complain that physical sales are dwindling, so their actions are even less understandable. Why would they not want too move more units?...The buying public are being deceived, and hip-hop audiences in particular need to reclaim ownership of the music. A few people profit economically and politically from a warped concept of urban culture, and a great many people suffer. For the sake of creativity, diversity, community relations and supporting homegrown art, these issues should be flagged up at a national level....This has been the motivation for a series of interviews with artists, record industry experts and fans that have encountered similar difficulties with the 'urban music' tag or who feel their experiences chime with mine. In the coming weeks I will be posting video footage of some conversations with artists like Ty and Yungun who have had similar experiences, and many others with divergent opinions. They are designed to stimulate debate and to explore how much the perversion of 'urban' culture has intensified over the past two years. Only by speaking with a more united voice, can we ultimately reverse some of the damage caused.SPINThe mainstream music industry (major labels, high street retailers, radio, music television, etc) is clearly facing huge financial challenges from download culture and is keen to maintain its influence over consumer habits. The reason it doesn't face more challenges from government, or consumer watchdogs or the monopolies and mergers commission is that it continually trots out a number of p.r myths.The first myth is that all decisions about racking, radio or TV playlisting are 'consumer driven.' In an article in the New Statesman covering 'the war in a rack' last January (http://www.newstatesman.com/200701290019) an HMV spokesperson claimed, "Musicians and buyers can always put forward good reasons for being racked elsewhere???at the end of the day, it simply comes down to customer service."Personally, this doesn't square with my experience. Unless there are hoards of unknown consumers agitating to stop B19 from being under 'urban', why did the stores just ignore the requests of hundred of fans that have been asking them to move it? As mentioned a similar thing happened with the release of Jazz Planet major record stores simply refused the single and didn't offer any explanation to me, Dune Records or to customers.Beyond my own case, I'm anxious to find out if the huge floor space given gangster rap and American R+B is really market driven or if we're being told it's popular to shift more units. The truth seems glaringly obvious. The buying public turns to retailers, and radio as a barometer ??? to know what's been released. P.R, promoters and retailers all proscribe what an audience gets to hear, or more crucially doesn't get to hear. They then hide behind the excuse- 'its what our audience wants, we're just reflecting market opinion.' If they limit choice, then their biggest clients are guaranteed more sales.A second major deception (common in radio, and music TV) is the industry itself supports home-grown music and champions the underdog. BBC Radio 1's website (http://www.bbc.co.uk/radio1/chart/playlist_faqs.shtml) claims that, their playlist team, head controllers etc are all committed to providing a balanced picture of British music, "We aim to play a mix of genres, ensure we support new UK artists as well as more established acts and feature more challenging tracks not played by most other stations. The fact that the BBC is different to commercial broadcasters informs its more socially responsible approach. The site goes further, claiming at least 40% of their playlist are guaranteed to be homegrown acts, and in practice the figure is more like 45-50%!However, as far as 'urban' music is concerned the figures never match the rhetoric, At the time of writing this there are 19 artists on radio 1's A-list, (none of them British Urban acts), 16 B-list artists (no UK Urban acts ??? the closest things are Jamie T and Amy Winehouse) and 10 C-list names (only ex-sugababe Mutya Buena is urbanish) http://www.bbc.co.uk/radio1/chart/playlist.shtml. Repesenting British music on radio may apply to guitar bands such as Bloc Party, or singer-songwriters such as James Morrison, but any space for British hip hop, grime or r+b is embarrassingly small. Conversely, U.S Hip Hop and R+B has never been better represented on mainstream radio. Akon, Beyonce, Amerie, Timbaland. Three weeks ago Justin Timberlake even appeared twice on the playlist. This is an era in which hip-hop and r+b have internationally eclipsed rock as the dominant voice of youth culture. Why are there no high profile British urban acts, and certain dissenting voices are gagged?If the myths are widely believed, the main casualties are aspirant British urban acts who churn out poor quality copies of what they think the market wants, and the inner city listeners who try to re-enact the ghetto fantasies.I have had some positive experiences and there are notable exceptions (specialist DJ's such as Ras Kwame, Benji B, or Gilles Peterson). But the fact remains that there is almost no way for a British urban act to receive as much exposure as a well funded U.S counterpart, or to get the leverage of UK indie acts. There are inner city success stories that hold a momentary branch of hope to inner city kids on council estates ??? but the media buzz and industry support is rarely sustained for more than 2 years. Labels encourage these artists to model themselves on U.S rap and r+b icons, but when they don't sell as well, they are dropped with the excuse that British urban music is 'difficult to market.'URBAN MUSICIts not surprising that the term 'urban' itself gives so many artists a problem. On the one hand it doesn't embrace the full gamut of black music, and on the other it includes names that have a dubious connection to 'the streets' (Lily Allen or Joss Stone).It was invented to make 'black music' more inclusive and palatable to mainstream audiences ??? but at the same time retain all of the raw edginess of the streets. The acclaimed M.C Ty, publicly criticised the Brit Awards, after Joss Stone won 'Best Urban Act,' "If Joss Stone is the closest thing that they feel comfortable championing because of what she looks like and how she sounds and who she's signed to, then so be it. It's got n
othing to do with what's really going on??? It's as though the label covers such a wide range of black music, that it doesn't actually have to mean anything specific.Urban music was created in boardrooms and then sold back to inner city, predominantly black communities. It has become popular because there are award ceremonies and potential sales figures attached to it. Moreover, if urban music is just a more politically correct byword for what used to be called 'black music' then the industry has even more to answer for. In effect it has taken 'jazz,' 'rock', 'protest songs', 'spoken word' etc away from black music, and left only bling bling behind. It's corrupted the inheritance of Miles Davis, John Coltrane, James Brown, Bob Marley, Fela Kuti and Boogie Down Productions and left us with watered down disposable icons, none of whom have the staying power of true cultural leaders. The results are damaging to all communities.This wouldn't be such an inflammatory issue if urban music wasn't blamed for the recent spate of gun and knife crime, or if it wasn't targeted as the chief cause of anti-social behaviour. In effect 'the industry' has created a caricature of black culture and any 'intellectual' voices have been marginalised. From being created as a more inclusive and politically term, 'Urban' is now a thinly veiled way of advancing some deeply un-P.C ideas: urban (i.e 'black culture') is to blame for gun crime and social disorder. Its no accident when shootings occur outside the MOBO's and UMA's, the disproportionate news coverage they get further reinforces the connection between 'urban' and violent crime. This issue is not confined to black, inner-city areas: the more all disaffected youth start subscribing to 'thug' life, the more gun and knife crime will appear in more 'safe,' rural areas. Whereas hip-hop is a democratic culture in which anyone with skillz can stand out, 'urban' demands that they act the caricature.IT'S ALL ABOUT THE M-O-N-E-EBut why would retail chains or a radio station want to join in promoting this distorted image? There are powerful economic incentives. Artists like Akon and Snoop have an enormous corporate machine behind them, and can effectively buy representation in the industry. Moreover, gangsta-rap markets behaves more predictably than any other forms of urban or black music. Much of the market don't scrutinise lyrics too much- people buy the artists more as a lifestyle choice, or because of a catchy beat, rather than on the merits of the message. Conversely, Yun Gun's listeners, or Ty's place the power in the hands of the artists not the marketers ??? the complexities of their albums take longer to register and the albums therefore take longer to sell.It's just much smarter to have consumers that don't question, and behave generically. Speaking to secondary school teachers ??? and I know many ??? reveals this fact, inner city teenagers are some of the most blind consumers in Britain. Black, Asian teens and Chavs are more likely to be dressed in expensive Lacoste or Burberry, or have the latest mobile phone handsets to feel validated. They can be relied upon to buy music with the same intentions.THE YOUTH MARKETSo the most active front on which this war is being waged is in schools. Competition for what could be called 'the teen quid' has grown so intense that some labels have abandoned all ethics and crawled directly into classrooms to sell distorted images of celebrity and urban music. Ultimately, it offers a very narrow model of success.In October 2006, I was involved in the government's Music Manifesto. Having the full endorsement of education Secretary Alan Johnson and Culture Minister David Lammy, the scheme was designed for 11-16 year olds, to give a much needed boost to music education, and to 'deepen and broaden' their appreciation of music right across the spectrum. http://www.musicmanifesto.co.uk/news/details/pupils-vote-with-their-feet-or-mouse/18755.However, it was hijacked by major labels and became a cheap marketing opportunity. One of the most obvious culprits was the marketing team behind Mr Skillz and his Crazy Girls. I was shocked and disturbed at the images his label was actively sending into schools. With such unforgettable lyrics, as "Pass your phone, give me your digits" and "shake it, shake it, shake it??? shake your booty like a strip dancer???I'm not taking no for an answer" the group's messages read more like seedy wine bar chat-up lines than light-hearted playground anthems. Without critiquing the poetic merits or demerits of Skillz's work further, what happened to the free recorder lessons?"Urban" music is both economically and politically a very useful term. It allows some artists to have all of the credibility of 'the streets', all of the edge of 'black' music, without any of the uncomfortable racial connotations. It sells records, because it's a myth of overnight success (coming up from the ghetto) - very easy to market to aspirant inner city kids. It's politically useful as an easy scapegoat for inner city violence ??? whereas a loss of social mobility under Thatcher, under-investment in council housing and the breakdown of community are just too complex and contentious."Urban" music does not represent hip-hop, soul, grime, reggae, black culture or even the inner city experience. It's merely a way of selling more, and curtailing artistic individuality.INTELLECTUAL HIP HOP?There's another tag that's almost as offensive as 'urban' ??? 'intellectual hip hop.' It's as though thought provoking lyrics, and a social conscience represent some radical new sub-branch of hip hop that never existed before. Having a large brain is one of the distinguishing traits of our species the average human brain weighs between 1300-1400 grams - chimps by contrast average at around 400g. All humans have intellects, however certain groups are encouraged to deactivate them. The term is tremendously patronising, and again confirms some strange assumptions about 'urban culture': no decent music writers refer to "intellectual rock music" or even "intelligent dance music."Public Enemy, KRS One, the Native Tongues (De La Soul, A Tribe Called Quest) all successfully advertised their intellects to a mainstream hip hop audience. At specific points in the music's history this trend was deliberately suppressed, and crowded out by thug' icons.Most people who actually live in a British inner city areas do not live the gangster fantasy. Although drugs and violence may be more visible (with residents living in confined spaces), there just isn't enough of a demand for crack for everyone to be dealing. Far more people earn money through cleaning/retail jobs, or choose college above shooting people as a vocation. However, these lives are far less glamorous, or marketable.WHO'S RESPONSIBLE?Nobody is held accountable for projecting harmful images into society. The retailers claim "Guidelines come from head office and are decided through a dialogue between the label and the executives. It comes down to common sense and instinct; these people have a lot of experience in the industry." (http://www.newstatesman.com/200701290019).Whereas the urban icons are everywhere from billboards to magazines, the powerful individuals that direct the industry from labels to radio and retail are all faceless. Their conceit and closet prejudices present both personal and a collective problemsThe issue affects a huge number of British artists who do not conform to the urban gangster-pop stereotypes. It matters beyond them, as Sarah Burke wrote, because promoting a more balanced picture of urban music, "Could help to alter the way in which street culture is viewed. It may be a fairer reflection of a way of life that is not just tied up with crime and antisocial behavior." This flags up a hugely important fact. It's muc
h easier to think of gun crime, drugs and asbos as issues which only affects a few ethnic minorities or council estates kids, not manifestations of a national epidemic of teenage delinquency and violence.Its important for likeminded urban artists to demonstrate solidarity, to show there is a healthy alternative, and that mainstream music industry has no legitimacy in representing urban culture. Left to 'market forces', shops/radio will continue to champion whichever client pays them the most: consumer choice will shrink, and inner city teenagers of all races will fall into negative stereotypes.
taken from dudes myspace blogSocial engineering through musicIts now over 7 months since Tales of the Tower Block was released: still the major high street retailers refuse to stock it in the urban music sections. Irreparable damage has been done to the album sales, to the point that it has jeopardised the release of Basement Fables, the second part of the story...Tales of the Towerblock gained new hip hop audiences - I had record of the weekend on 1xtras Twin B show with Everybody Raps which has also received lots of daytime play on that station. We had features in HHC, Echoes, Touch Magazine. Ras Kwame Radio 1 live session, Rodney P & Skitz were playing the record, along with many urban Djs. Still retailers wouldn't move it to both sections, and punters were going into the record shops and not seeing the album because of where it was placed.As a result of the album being tucked away in the more obscure jazz/classical basement of record stores, the release of Basement Fables has been seriously compromised. This is all happening at a time in which retailers complain that physical sales are dwindling, so their actions are even less understandable. Why would they not want too move more units?...The buying public are being deceived, and hip-hop audiences in particular need to reclaim ownership of the music. A few people profit economically and politically from a warped concept of urban culture, and a great many people suffer. For the sake of creativity, diversity, community relations and supporting homegrown art, these issues should be flagged up at a national level....This has been the motivation for a series of interviews with artists, record industry experts and fans that have encountered similar difficulties with the 'urban music' tag or who feel their experiences chime with mine. In the coming weeks I will be posting video footage of some conversations with artists like Ty and Yungun who have had similar experiences, and many others with divergent opinions. They are designed to stimulate debate and to explore how much the perversion of 'urban' culture has intensified over the past two years. Only by speaking with a more united voice, can we ultimately reverse some of the damage caused.SPINThe mainstream music industry (major labels, high street retailers, radio, music television, etc) is clearly facing huge financial challenges from download culture and is keen to maintain its influence over consumer habits. The reason it doesn't face more challenges from government, or consumer watchdogs or the monopolies and mergers commission is that it continually trots out a number of p.r myths.The first myth is that all decisions about racking, radio or TV playlisting are 'consumer driven.' In an article in the New Statesman covering 'the war in a rack' last January (http://www.newstatesman.com/200701290019) an HMV spokesperson claimed, "Musicians and buyers can always put forward good reasons for being racked elsewhere???at the end of the day, it simply comes down to customer service."Personally, this doesn't square with my experience. Unless there are hoards of unknown consumers agitating to stop B19 from being under 'urban', why did the stores just ignore the requests of hundred of fans that have been asking them to move it? As mentioned a similar thing happened with the release of Jazz Planet major record stores simply refused the single and didn't offer any explanation to me, Dune Records or to customers.Beyond my own case, I'm anxious to find out if the huge floor space given gangster rap and American R+B is really market driven or if we're being told it's popular to shift more units. The truth seems glaringly obvious. The buying public turns to retailers, and radio as a barometer ??? to know what's been released. P.R, promoters and retailers all proscribe what an audience gets to hear, or more crucially doesn't get to hear. They then hide behind the excuse- 'its what our audience wants, we're just reflecting market opinion.' If they limit choice, then their biggest clients are guaranteed more sales.A second major deception (common in radio, and music TV) is the industry itself supports home-grown music and champions the underdog. BBC Radio 1's website (http://www.bbc.co.uk/radio1/chart/playlist_faqs.shtml) claims that, their playlist team, head controllers etc are all committed to providing a balanced picture of British music, "We aim to play a mix of genres, ensure we support new UK artists as well as more established acts and feature more challenging tracks not played by most other stations. The fact that the BBC is different to commercial broadcasters informs its more socially responsible approach. The site goes further, claiming at least 40% of their playlist are guaranteed to be homegrown acts, and in practice the figure is more like 45-50%!However, as far as 'urban' music is concerned the figures never match the rhetoric, At the time of writing this there are 19 artists on radio 1's A-list, (none of them British Urban acts), 16 B-list artists (no UK Urban acts ??? the closest things are Jamie T and Amy Winehouse) and 10 C-list names (only ex-sugababe Mutya Buena is urbanish) http://www.bbc.co.uk/radio1/chart/playlist.shtml. Repesenting British music on radio may apply to guitar bands such as Bloc Party, or singer-songwriters such as James Morrison, but any space for British hip hop, grime or r+b is embarrassingly small. Conversely, U.S Hip Hop and R+B has never been better represented on mainstream radio. Akon, Beyonce, Amerie, Timbaland. Three weeks ago Justin Timberlake even appeared twice on the playlist. This is an era in which hip-hop and r+b have internationally eclipsed rock as the dominant voice of youth culture. Why are there no high profile British urban acts, and certain dissenting voices are gagged?If the myths are widely believed, the main casualties are aspirant British urban acts who churn out poor quality copies of what they think the market wants, and the inner city listeners who try to re-enact the ghetto fantasies.I have had some positive experiences and there are notable exceptions (specialist DJ's such as Ras Kwame, Benji B, or Gilles Peterson). But the fact remains that there is almost no way for a British urban act to receive as much exposure as a well funded U.S counterpart, or to get the leverage of UK indie acts. There are inner city success stories that hold a momentary branch of hope to inner city kids on council estates ??? but the media buzz and industry support is rarely sustained for more than 2 years. Labels encourage these artists to model themselves on U.S rap and r+b icons, but when they don't sell as well, they are dropped with the excuse that British urban music is 'difficult to market.'URBAN MUSICIts not surprising that the term 'urban' itself gives so many artists a problem. On the one hand it doesn't embrace the full gamut of black music, and on the other it includes names that have a dubious connection to 'the streets' (Lily Allen or Joss Stone).It was invented to make 'black music' more inclusive and palatable to mainstream audiences ??? but at the same time retain all of the raw edginess of the streets. The acclaimed M.C Ty, publicly criticised the Brit Awards, after Joss Stone won 'Best Urban Act,' "If Joss Stone is the closest thing that they feel comfortable championing because of what she looks like and how she sounds and who she's signed to, then so be it. It's got nothing to do with what's really going on??? It's as though the label covers such a wide range of black music, that it doesn't actually have to mean anything specific.Urban music was created in boardrooms and then sold back to inner city, predominantly black communities. It has become popular because there are award ceremonies and potential sales figures attached to it. Moreover, if urban music is just a more politically correct byword for what used to be called 'black music' then the industry has even more to answer for. In effect it has taken 'jazz,' 'rock', 'protest songs', 'spoken word' etc away from black music, and left only bling bling behind. It's corrupted the inheritance of Miles Davis, John Coltrane, James Brown, Bob Marley, Fela Kuti and Boogie Down Productions and left us with watered down disposable icons, none of whom have the staying power of true cultural leaders. The results are damaging to all communities.This wouldn't be such an inflammatory issue if urban music wasn't blamed for the recent spate of gun and knife crime, or if it wasn't targeted as the chief cause of anti-social behaviour. In effect 'the industry' has created a caricature of black culture and any 'intellectual' voices have been marginalised. From being created as a more inclusive and politically term, 'Urban' is now a thinly veiled way of advancing some deeply un-P.C ideas: urban (i.e 'black culture') is to blame for gun crime and social disorder. Its no accident when shootings occur outside the MOBO's and UMA's, the disproportionate news coverage they get further reinforces the connection between 'urban' and violent crime. This issue is not confined to black, inner-city areas: the more all disaffected youth start subscribing to 'thug' life, the more gun and knife crime will appear in more 'safe,' rural areas. Whereas hip-hop is a democratic culture in which anyone with skillz can stand out, 'urban' demands that they act the caricature.IT'S ALL ABOUT THE M-O-N-E-EBut why would retail chains or a radio station want to join in promoting this distorted image? There are powerful economic incentives. Artists like Akon and Snoop have an enormous corporate machine behind them, and can effectively buy representation in the industry. Moreover, gangsta-rap markets behaves more predictably than any other forms of urban or black music. Much of the market don't scrutinise lyrics too much- people buy the artists more as a lifestyle choice, or because of a catchy beat, rather than on the merits of the message. Conversely, Yun Gun's listeners, or Ty's place the power in the hands of the artists not the marketers ??? the complexities of their albums take longer to register and the albums therefore take longer to sell.It's just much smarter to have consumers that don't question, and behave generically. Speaking to secondary school teachers ??? and I know many ??? reveals this fact, inner city teenagers are some of the most blind consumers in Britain. Black, Asian teens and Chavs are more likely to be dressed in expensive Lacoste or Burberry, or have the latest mobile phone handsets to feel validated. They can be relied upon to buy music with the same intentions.THE YOUTH MARKETSo the most active front on which this war is being waged is in schools. Competition for what could be called 'the teen quid' has grown so intense that some labels have abandoned all ethics and crawled directly into classrooms to sell distorted images of celebrity and urban music. Ultimately, it offers a very narrow model of success.In October 2006, I was involved in the government's Music Manifesto. Having the full endorsement of education Secretary Alan Johnson and Culture Minister David Lammy, the scheme was designed for 11-16 year olds, to give a much needed boost to music education, and to 'deepen and broaden' their appreciation of music right across the spectrum. http://www.musicmanifesto.co.uk/news/details/pupils-vote-with-their-feet-or-mouse/18755.However, it was hijacked by major labels and became a cheap marketing opportunity. One of the most obvious culprits was the marketing team behind Mr Skillz and his Crazy Girls. I was shocked and disturbed at the images his label was actively sending into schools. With such unforgettable lyrics, as "Pass your phone, give me your digits" and "shake it, shake it, shake it??? shake your booty like a strip dancer???I'm not taking no for an answer" the group's messages read more like seedy wine bar chat-up lines than light-hearted playground anthems. Without critiquing the poetic merits or demerits of Skillz's work further, what happened to the free recorder lessons?"Urban" music is both economically and politically a very useful term. It allows some artists to have all of the credibility of 'the streets', all of the edge of 'black' music, without any of the uncomfortable racial connotations. It sells records, because it's a myth of overnight success (coming up from the ghetto) - very easy to market to aspirant inner city kids. It's politically useful as an easy scapegoat for inner city violence ??? whereas a loss of social mobility under Thatcher, under-investment in council housing and the breakdown of community are just too complex and contentious."Urban" music does not represent hip-hop, soul, grime, reggae, black culture or even the inner city experience. It's merely a way of selling more, and curtailing artistic individuality.INTELLECTUAL HIP HOP?There's another tag that's almost as offensive as 'urban' ??? 'intellectual hip hop.' It's as though thought provoking lyrics, and a social conscience represent some radical new sub-branch of hip hop that never existed before. Having a large brain is one of the distinguishing traits of our species the average human brain weighs between 1300-1400 grams - chimps by contrast average at around 400g. All humans have intellects, however certain groups are encouraged to deactivate them. The term is tremendously patronising, and again confirms some strange assumptions about 'urban culture': no decent music writers refer to "intellectual rock music" or even "intelligent dance music."Public Enemy, KRS One, the Native Tongues (De La Soul, A Tribe Called Quest) all successfully advertised their intellects to a mainstream hip hop audience. At specific points in the music's history this trend was deliberately suppressed, and crowded out by thug' icons.Most people who actually live in a British inner city areas do not live the gangster fantasy. Although drugs and violence may be more visible (with residents living in confined spaces), there just isn't enough of a demand for crack for everyone to be dealing. Far more people earn money through cleaning/retail jobs, or choose college above shooting people as a vocation. However, these lives are far less glamorous, or marketable.WHO'S RESPONSIBLE?Nobody is held accountable for projecting harmful images into society. The retailers claim "Guidelines come from head office and are decided through a dialogue between the label and the executives. It comes down to common sense and instinct; these people have a lot of experience in the industry." (http://www.newstatesman.com/200701290019).Whereas the urban icons are everywhere from billboards to magazines, the powerful individuals that direct the industry from labels to radio and retail are all faceless. Their conceit and closet prejudices present both personal and a collective problemsThe issue affects a huge number of British artists who do not conform to the urban gangster-pop stereotypes. It matters beyond them, as Sarah Burke wrote, because promoting a more balanced picture of urban music, "Could help to alter the way in which street culture is viewed. It may be a fairer reflection of a way of life that is not just tied up with crime and antisocial behavior." This flags up a hugely important fact. It's muc
h easier to think of gun crime, drugs and asbos as issues which only affects a few ethnic minorities or council estates kids, not manifestations of a national epidemic of teenage delinquency and violence.Its important for likeminded urban artists to demonstrate solidarity, to show there is a healthy alternative, and that mainstream music industry has no legitimacy in representing urban culture. Left to 'market forces', shops/radio will continue to champion whichever client pays them the most: consumer choice will shrink, and inner city teenagers of all races will fall into negative stereotypes.
Comments
Interesting article...