Report of conculsions

Unlike the way it was two decade ago when black artists made rhymes for a black audience, today, black artists recognize that when they make an album, only a certain percentage which is well below fifty percent in most cases will be consumed by African Americans. This brings up the question of whether or not rap’s target has been shifted from what it was when the audience was homogenous to the artist.

The extremely popular Sean “Puffy” Combs (Puff Daddy) (1997) was labeled the “New King of Rap” by Rolling Stone magazine. (1997) Combs have admitted that he is not a rapper, but a hit maker who has sampled previously successful songs such as “Every Breath You Take” by the Police, and “The Message,” by Grand Master Flash and the Furious Five featuring Melle Mel. Combs will often use other artists’ rhymes and beats in his own type of music that differs from rap. His music has been referred to as hip-pop; that is, music that is not pop, nor hip-hop, but a combination that is more mainstream and less like traditional rap music.

Inculcation the aim for this paper is to review Corporate America’s influence on the hip-hop crossover into mainstream media. Since the corporate merger of corporate America and hip hop, this genre has evolved from a predominately urban audience to having global appeal. Corporations have exploited many artists by taking advantage of the black artist’s ability to produce and sell mainstream crossover music. We now live in an age where corporate merges are bombarding the viewing public with constant visual and exploitive images of African Americans.