By: Kenny Smith

Rappers have always came a dime a dozen. But since the emergence of the world’s greatest showcasing website, Myspace, fickle youngsters from around the world have come out of the woodworks proclaiming talent and charisma suitable for today’s industry. Bottom line; through this virtual open mic-like website, it is much easier to get heard than ever before. If you believe that you have what it takes, in the next five minutes your music can be available for the world to see. Through this incredible venue, the “Myspace Rapper” has been born.

The problem with the Myspace Rapper is similar to the one in the world of journalism and the new experience of blogging. The big issue in the blogging world is whether these internet reporters can be considered true journalist, without credibility and the lack of an overseeing editor finalizing their work. The same can be said for the Myspace Rapper; left to his/her own devices, opinions, and criticisms only within his/her small circle of friends and/or family. I call it the “Singing in the Shower Syndrome,” where everyone and their mama believes they have the talent to perform and unfortunately, Myspace is their tape recorder. This leads to a jaded judgment on skill, a lack of tested and true credibility, false hope, and a false belief of being heard and liked.

For the Myspace Rapper, emulation is key. They lack the originality to differentiate from what they see on television and the substance to say enough for the allotted four song slots the website gives you. Popular artist like Lil Wayne, Juelz Santana, Lil Wayne, Jay-Z, Lil Wayne, Cassidy and… did I mention Lil Wayne are the basis of their creativity and personality. Words like “Swag” replace true MC characteristics like style, delivery, metaphors, concepts etc. Real skills and requirements for an established artist like performance, re-invention, concepts and personality have been stripped down to basic, undeveloped elements of having a hot beat, a hot chorus and meaningless verses filled with similes.

But in all honesty, it isn’t entirely the Myspace Rappers’ fault. They are simply a mirror to the direction the game is heading in, and it isn’t good. If you travel to a random Myspace Rapper’s page, you are certain to hear a “Get Money” type track, a “For The Ladies” type track, or an “I’ll Kill You” type track. You are certain to hear a vocoder with either Weezy’s flow or Jay’s flow, and are certain to hear an 808 synth-driven southern beat. This is because this formula is the new blueprint for success in today’s Hip-Hop industry. It’s the new thing, and this new thing sells. It will milked until every selling aspect has been raped to the fullest extent. The only difference is that these people make the money, and the Myspace Rapper aspires to do so. The online market is thus, saturated to a point where actual skill and talent are substituted for whatever can get the quick buck for the time and what they think the industry is looking for. And thus, you have The Myspace Rapper.

Just a lil’ something for all of the so-called gangsta rappers out there and in today’s industry. Being a gangsta is something that is not to be glorified, but if you MUST be one, Bumpy personified it because he did it the right way — if that’s possible.

 
                – “Bring prosperity back to the hood like Bump J.”- Beanie Sigel

 Before rappers emerged proclaiming to be the “kings” of their city; glorifying and indulging in every negative aspect of respect, reputation and recognition, there was a man from the early 1920’s to the 1960’s who governed his city with a ruthless but positive aura. Harlem’s beloved son Ellsworth “Bumpy” Johnson is often referred to as the original black gangster, and perhaps the most feared and respected. 

But in the eyes of today’s generation – incarceration, hustling, and all aspects of the gangsta-persona are more loved and glorified than feared and respected. Especially in the Hip-Hop culture – where braggadocios lyrics about drug-peddling, gun-blazing and jail-visiting rappers are the constant images being presented to audiences around the world. A vast majority of rappers mold their images and personas after the reality that Bumpy carried out everyday. The story of the hardcore, street-oriented, tough upbringing artist, that is frequently fabricated, usually concludes with highly publicized attempts of artists living up to these facades, after the words are spoken. Consequences, convictions and sometimes death are the end results of rappers attempting to solidify their status. For Bumpy however, the actions spoke for them selves, and those factual events can’t be compiled from loose leaf.

By the age of 30, Bumpy Johnson had spent half of his life in prison. Arrested over 20 times, his rap sheet was unmatched – everything from assault, grand larceny and drug trafficking to burglary, robbery and gambling, just to name a few. Never afraid of a confrontation, bar brawls and street scuffles were always constant as Bumpy would not hesitate to bruise an ego as well as a jaw. It was this same confrontational attitude that contributed to the short-lived numbers gang-war with Jewish mob boss Dutch Schultz.

Looking to take complete control of the Harlem numbers racket, the only threats standing in Schultz’ way were Harlem underworld leader Madame Stephanie St. Clair and Bumpy, acting as her head lieutenant. While the rest of Harlem’s black numbers runners either violently surrendered or quietly sided with Schultz, Madame St. Clair and Bumpy adamantly refused. After an estimated 40 murders on both sides, Bumpy realized that Schultz’ violent prowess and political connections were too much and orchestrated a truce between the two factions. Even though the majority of the power was ultimately shifted to Schultz and the Italian Mafia, Bumpy earned their respect. They took a liking to his persuasiveness and brash demeanor; so much so that he was placed in charge of Harlem operations by Mafia leader Lucky Luciano.

Along with the numbers market, Bumpy was as well-known for his flashy, extravagant flair as his quick-tempered dominance. It is claimed that he was the first black gangster to reach the millionaire plateau and he wasn’t afraid of showing it; he cruised around in a stretch limo with a driver and sported tailored suits. He was a pimp as well, having numerous suspected affairs while showering his wife with gifts in between prison stints.

While some newspapers called Bumpy “Harlem’s Most Famous Underworld Figure”, it was his work in the hearts of the people of Harlem that earned him the moniker, the “Robin Hood of Harlem.” He was a philanthropist for the city and was always in support of his people – whether it was setting up soup lines during the Depression, preventing a family from eviction with a couple of bills or organizing the black number runners in the fight against Dutch Schultz – he was there for his city, and his city loved him for it. It was Bumpy who tried to organize the black numbers runners in the fight against Dutch Schultz, and it was Bumpy keeping the black numbers runners in Harlem alive after Schultz’ takeover. This strong determination and will resonated to the other cultures who seen Bumpy as an ally and an asset.

Acting as the middleman between Italian and Black organizations, Bumpy was trusted and most importantly respected with others outside of his race. He was well-known in some of the highest of Italian circles and was looked upon as the spokesman for his people. No other black man could garner the same respect that Bumpy did, and it was because he was straight-forward with his actions and his words.

And his words were intelligent ones. Nicknamed “The Professor” in prison, Bumpy was an avid lover of books and chess. Also a poet, some of his poetry was published later during the Harlem Renaissance. A brutal and dominating “gangster” that was also a master chess player and a collector of books? Bumpy Johnson had the ability to it all.

His life could be said to be one big contradiction. While strong-arming his way to the heights of power on one side, he made sure the people around him were taken care of on the other. He was a gangster’s gangster with a strong moral code of ethics; something that is desperately missing in today’s world of the self-proclaimed “gangster.” The life that these types of individuals lead should most certainly not be glorified, especially if it is only the negative that is mentioned. Today’s so-called gangster is much more an advocate of poisoning his people rather than giving back. A rapper’s sheet of lyrics reads like a real rap sheet, as they struggle to prove their importance through blatantly telling on themselves through song – whether factual or makeshift. They are not respected by other races and are not supporters of their own for that matter.

Today’s gangster is a composition of every well-respected gangster of old, but the real gangsters like Bumpy Johnson served a purpose just as much as they were served sentences. The sense of pride in one’s self and one’s people is a thing of the past, as exploitation and downright destruction have become things to be looked upon as favorable and respectable. The entire image of thugs, druglords and gangsters has become a misrepresentation of an entire culture as rappers become kingpins over night through the air waves. But authentic tough guys like Bumpy actually had something that they believed in and fought for, which was the sense of pride in the people that loved them.

Although his actions were extremely flawed, Bumpy did whatever he could to make sure his people were handled with respect and his constant interest for the common individual is why people loved him the way they did. It’s amazing to believe that the most respected gangster in Hip-Hop culture is a fictional Cuban character who had nothing to do with blacks, when there were real life individuals who made the support of your fellow man a way of life. This just shows the drastic shift of self-pride today.

Bumpy Johnson’s life was in no way a perfect one. It isn’t commendable, and it shouldn’t be glorified. But he was one real gangster that did more for his people than relatively any rapper today who claims to do what he did. His contradictions were many, but with whatever he participated in – from once being called “the most dangerous man in New York City”, to being the “Robin Hood of Harlem” – he did with a strong moral code that made sure his people would not be disadvantaged and deprived. With every rapper professing his thugged-out story – although it’s usually scripted – and simultaneously bringing back nothing to the hood that they made millions fabricating, I would rather have kids study the life of Bumpy Johnson, if they had to look up to something. His methods might have been downright ruthless and negative, but his words were true and the love for his people was real.

What is the state of Hip-Hop? Depending on who you ask, you will get different responses. Generally, responses will consist of either “it’s great, artists are making more money now than ever before,” or “it’s not how it used to be, everything sounds the same.” Well, they’re both right. My belief is that somewhere along the line as Hip-Hop evolved, it began to have data, statistics, and track records. And when it became understood that it was a multi-billion dollar industry, it took on another form.

Let’s compare Hip-Hop to a simplified Advertising Industry. In advertising, you have various different agencies geared towards selling a particular product. The ad agency’s job is to create the most effective advertisement to sell the product. In Hip-Hop, the ad agencies are the record labels, and the product is Hip-Hop music essentially. The labels’ main objective is to sell as much music (the product) by creating the most effective record (the advertisement) as possible.

In an ad agency, there is a specific department designated to create the ad that will sell effectively. This is the creative department, made up of art directors and copywriters, theoretically. The copywriter creates the words for the advertisement, and the art director makes the visual. In Hip-Hop, this would be considered the recording artist and the producer.

Now the number one objective in any ad agency is to sell, and after buying, researching and strategizing a plan, it is the creative department’s job to present an ad that will meet the client’s goal. Unfortunately, creativity is abolished and simplicity is welcomed because the main concern is SELLING the product. A copywriters integrity and craftsmanship have to be put aside, as it has been researched that simple, straight-to-the-point direct selling techniques are guaranteed winners.

And thus, you have the state of Hip-Hop; the record labels act as competing ad agency’s whose primary purpose is to reach as many people as possible, through their creative department’s ad’s. Generally, rapper’s are forced to dismiss creative intuitions and original ideas to go with what is guaranteed to sell. What is guaranteed to sell in any type of market is sex, violence, and controversy; in Hip-Hop this is the exhausted gangsta-machismo persona, the constant sexual exploitation, and the public controversy. If there is a new trend that is selling in the market (the vocoder) other labels will be sure to use it and make it their own, but it never steers too far from the main selling points. When new ways of selling the product get introduced (the iPOD, ringtones) the labels adjust accordingly, to where the product isn’t an entire record anymore but rather a single track.

The problem is that these ad’s (records) aren’t just everyday poster’s that you see as you pass by on the train, these are people’s lives, ideas and feelings recorded to music. The product isn’t just another way to make a buck; it is the music that is the representation for an entire culture. So sex and violence creating sells isn’t just looked at as “that’s just the ways to sell your product,” it becomes directly correlated to the culture that it represents. It is permeated into our thinking, our actions and our thoughts. Rappers are essentially helpless, as operating outside of this rigid formula doesn’t generate much success. They must follow the specific blueprint to sell their product, just like a copywriter. The originality, versatility, and freedom of expression of the Golden Age are either hard to find, or non-existent now because those things don’t move the product out of the stores. Labels become brands in the marketplace to the point where there are only a few brands pumping out the product. Since they’re all competing with each other, the product is the same.

So the state of Hip-Hop can be seen in different lights depending on your perspective. Is it a state of bliss (because that’s what ignorance is) or a state of emergency? Is it for better or for worse? Whatever it may be, the fact is Hip-Hop is a cash cow in the music industry and the music that it sells directly reflects this point. The bigger question is who’s to blame?