Hip Hop Profanity, Misogyny and Violence: Blame the Manufacturer

On a Spring day at McDonald's fast food restaurants all across Black America, counter clerks welcome female customers with the greeting, "What you want, bitch?" Female employees flip burgers in see-through outfits and make lewd sexual remarks to pre-teen boys while bussing tables. McDonald's managers position themselves near the exits, arms folded, Glocks protruding from their waistbands, nodding to departing customers, "Have a good day, motherf**kers. Y'all my niggas."

Naturally, the surrounding communities would be upset. A portion of their anger would be directed at the young men and women whose conduct was so destructive of the morals and image of African Americans. Preachers would rail against the willingness of Black youth to debase themselves in such a manner, and politicians would rush to introduce laws making it a crime for public accommodations employees to use profanity or engage in lewd or threatening behavior. However, there can be no doubt that the full wrath of the community and the state would descend like an angry god's vengeance on the real villain: the McDonald's Corporation, the purveyor of the fast food experience product.

Hip Hop music is also a product, produced by giant corporations for mass distribution to a carefully targeted and cultivated demographic market. Corporate executives map out multi-year campaigns to increase their share of the targeted market, hiring and firing subordinates -- the men and women of Artists and Recordings (A&R) departments -- whose job is to find the raw material for the product (artists), and shape it into the package upper management has decreed is most marketable (the artist's public persona, image, style and behavior). It is a corporate process at every stage of artist "development," one that was in place long before the artist was "discovered" or signed to the corporate label. What the public sees, hears and consumes is the end result of a process that is integral to the business model crafted by top corporate executives. The artist, the song, the presentation -- all of it is a corporate product.

Yet, unlike the swift and certain public condemnation that would crash down upon our hypothetical McDonald's-from-Da Hood, the bulk of Black community anger at hip hop products is directed at foul-behaving artists, rather than the corporate Dr. Frankensteins that created and profit from them. As the great French author and revolutionary Franz Fanon would have understood perfectly, colonized and racially oppressed peoples internalize -- take ownership -- of the social pathologies fostered by the oppressor. Thus, the anti-social aspects of commercial hip hop are perceived as a "Black" problem, to be overcome through internal devices (preaching and other forms of collective self-flagellation), rather than viewed as an assault by hostile, outside forces secondarily abetted by opportunists within the group.

In order for our nightmare McDonald's analogy to more closely fit the music industry reality, all the fast food chains would have to provide the same type of profane, low-life, hyper-sexualized, life-devaluing service/product: "Bitch-Burgers" from Burger King, served with "Chronic-Flavored Fries," "Ho Wings" from KFC, dipped in too-hot "187 Murder Sauce." If you wanted fast food, you'd have to patronize one or the other of these thug-themed chains. So, too, with hip hop music.

A handful of entertainment corporations exercise total control of the market, in incestuous (and illegal) conspiratorial concert with corporate-dominated radio. Successful so-called "independent" labels are most often mere subcontractors to the majors, dependent on them for record distribution and business survival. They are no more independent than the owner of a McDonald's franchise, whose product must conform to the standards set by global headquarters in Oak Brook, Illinois.