We feel that hip-hop has, and continues to have, both directly and second hand,
a major enriching influence on popular culture. Though it started as a fringe
presence, it now has massive clout and influence. We suspect that this
influence, to their ultimate detriment, remains unacknowledged by many
marketers attempting to address the emerging ‘hip-hop’ generation.
We also believe that brand stakeholders, amongst others, have often failed to
apprehend and acknowledge ‘hip-hop’ in its own right as a cultural phenomenon.
This has led marketers to some wrong-headed assumptions about what ‘hip-hop’
means to young people. ‘Hip-hop’ has often been ghettoised as esoterica or ‘a
black thing’. Although the ‘establishment’ is belatedly showing more interest, we
feel that hip-hop still suffers ‘ghettoisation’ as a self-contained entity existing at
the margins.
Consequently, it has historically been relegated to the periphery or
misunderstood and misrepresented, not least in its portrayal in the media. Media
channels have either regrettably fixated on the negative manifestations of hiphop
culture: violence, misogyny and profanity or have sought to parody hip-hop
for comic effect. We would argue this presents a grossly distorted picture of hiphop
and dismisses – failing to account for – hip-hop’s ubiquity, enduring
popularity and multi-facetedness. This can also lead to superficial treatments of
hip-hop in communication which fail to resonate with the consumer. Marketers
are now faced with a challenge - how to unlock the potential of hip-hop culture
to speak relevantly to young people.
How
We feel that hip-hop has, and continues to have, both directly and second hand,a major enriching influence on popular culture. Though it started as a fringepresence, it now has massive clout and influence. We suspect that thisinfluence, to their ultimate detriment, remains unacknowledged by manymarketers attempting to address the emerging ‘hip-hop’ generation.We also believe that brand stakeholders, amongst others, have often failed toapprehend and acknowledge ‘hip-hop’ in its own right as a cultural phenomenon.This has led marketers to some wrong-headed assumptions about what ‘hip-hop’means to young people. ‘Hip-hop’ has often been ghettoised as esoterica or ‘ablack thing’. Although the ‘establishment’ is belatedly showing more interest, wefeel that hip-hop still suffers ‘ghettoisation’ as a self-contained entity existing atthe margins.Consequently, it has historically been relegated to the periphery ormisunderstood and misrepresented, not least in its portrayal in the media. Mediachannels have either regrettably fixated on the negative manifestations of hiphopculture: violence, misogyny and profanity or have sought to parody hip-hopfor comic effect. We would argue this presents a grossly distorted picture of hiphopand dismisses – failing to account for – hip-hop’s ubiquity, enduringpopularity and multi-facetedness. This can also lead to superficial treatments ofhip-hop in communication which fail to resonate with the consumer. Marketers
are now faced with a challenge - how to unlock the potential of hip-hop culture
to speak relevantly to young people.
How
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