From: officialflagrant
Hip-hop culture, particularly rap music, finds itself at a complex intersection with societal norms, legal systems, and the ever-evolving digital landscape. Recent discussions highlight the challenges artists face, from legal scrutiny of their lyrics to managing public perception in the age of social media [00:00:00].
Legal Scrutiny and Rap Lyrics
The use of rap lyrics as evidence in court has become a significant concern for artists, particularly in Atlanta. The district attorney (DA) in Fulton County is cracking down on artists who, according to authorities, are funding or associated with street gangs [00:26:26]. This has led to high-profile arrests, such as those of Young Thug and Gunna, whose songs were “slated to drop” but were “canned” due to fears of providing more evidence for their cases [02:49:51]. The most “self-incriminating bars usually hit the hardest” [02:50:09], creating a dilemma for artists who rap about their street experiences.
The climate in Atlanta suggests that it wouldn’t be “wise to rap about anything that’s really” gangster-related due to potential legal repercussions [01:29:57]. Artists like Lil Baby, who was perceived to have “dissed” internet personality Akademiks on his album, may be trying to “throw the smoke screen” away from real street issues to avoid legal trouble [01:13:05]. This legal pressure forces rappers to become “creative” in their songwriting [02:55:27]. The community in Atlanta is “fed up with the crime” [02:58:01], leading to increased public support for the DA’s actions, even if they target prominent figures [02:58:13].
The “Snitching” Debate
Within hip-hop culture, the concept of “snitching” is highly controversial. Academiks clarifies that he cannot “technically be a snitch” because he is not involved in “street shit” [01:15:29]. He would “say exactly what happened” if a crime were committed against him and is “fine with that label” of being a snitch in such a scenario [01:16:02]. However, he notes that “hip-hop cares about it” [01:16:16], and artists can use perceived “snitching” as a point of contention in their lyrics.
Media, Public Perception, and Artist Control
The relationship between artists and media personalities is often fraught. Academiks believes that rappers “never beef with the media” because the media will “lose” [01:59:01]. He asserts that his influence allows him to “make sure that at every point” he takes things personally and does not give disrespectful artists the “benefit of the doubt” [01:59:21].
The Impact of Social Media on Artists
Social media plays a crucial role in shaping narratives and public perception. Artists often spin events to their advantage, especially when facing legal trouble [02:59:20]. Kim Kardashian, for example, tweeted about “releasing Gunna” [02:59:23], leveraging her influence on social issues. However, artists are also judged on whether their lyrics reflect their reality; if they “say you live your reps” and then are “prosecuting,” it can create a narrative of hypocrisy [03:04:04].
For media figures like Academiks, a viral incident on social media can quickly spread misinformation, making it seem as though his supporters hold extreme views [02:26:05]. He notes that the internet has “widened” opportunities but also created a “bubble” [03:32:53], where online discussions can overshadow real-world impact.
Business Dynamics in Hip-Hop
The music industry has shifted dramatically with the rise of streaming. Academiks notes that music is “so much more powerful than” vlogging or other content [04:17:16]. A single diss track can be streamed “200 million times” [04:17:58], requiring a media personality to respond with “five hour live stream[s]” [04:18:10] to counter the impact.
Streaming vs. Physical Sales
The industry’s reliance on streaming is seen as a “coping method” rather than a strategic business move [03:12:25]. Unlike the movie industry, which enhanced the theatrical experience to combat piracy, the music industry “can’t battle this shit” and instead “go to streaming” [03:12:21]. This dilutes earnings for artists, as money is “distributed across like hundreds of thousands of artists” [03:13:35].
Taylor Swift is highlighted as an example of an artist who understands how to “finesse” the system. She not only re-recorded her songs to own her masters but also offered “four songs on the vinyl version” as a collector’s edition, with multiple colors, and used vinyl purchases to unlock tour tickets [03:14:48]. This strategy resulted in “1.1 million CDs, vinyls, cassettes, and just digital albums” sold [03:14:17], demonstrating how artists can still leverage physical sales and fan experiences. Her influence even pushed streaming companies like Spotify and Apple to increase payout rates [03:15:08].
Artist Deals and Financial Literacy
Many rappers sign the “same deal” and then complain about it years later instead of “share[ing] information” to negotiate better terms [03:07:27]. Artists are urged to be smarter and “not waste[] all your best years” [03:10:47] without seeing the “fruit of your labor” [03:10:49]. The real money in the industry often goes to “executives” and managers like Scooter Braun, who acquired Taylor Swift’s masters [03:11:03].
Influence of Celebrities on Social and Cultural Narratives
Kanye West’s Impact
Kanye West is presented as an artist with an “innate urge to try to create a cult” and achieve “complete control” rather than just money [04:11:05]. His public statements, such as those regarding George Floyd, demonstrate his ability to “flip” narratives based on his personal situation [03:59:36]. He is seen as “using black people like we [are] side chick[s]” [04:20:20] for his own gain, leveraging their attention when he is in conflict with mainstream entities.
The “Cult” Analogy
Academiks likens some artists, including Kanye West and XXXTentacion, to cult leaders who seek to control their audience’s “thinking” and “ideology” [04:13:11]. XXXTentacion, for instance, believed his fans would “commit suicide” if something happened to him and studied cult leaders [04:14:13]. This is distinct from artists like Nicki Minaj, who, while having devoted fans, is merely “spreading Stannis” (fandom) rather than an ideology [04:18:49].
Distrust in Mainstream Media
There is a growing distrust of mainstream media, leading to “counterculture” communities that “reject every mainstream media narrative” [02:22:14]. This distrust stems from perceived lies and ignored facts, such as the Epstein case [02:23:54]. However, this can lead to adopting alternative narratives that are equally unfounded [02:23:37]. Academiks cautions that one “can’t excuse the behavior just because you’ve been traumatized” [02:24:08] by mainstream narratives.
Celebrity Influence on Social Issues
Basketball player Kevin Durant is mentioned in the context of his reaction to Kanye’s controversial statements. Academiks criticizes Durant for simply “commenting” on social media rather than using his “actual power” to “call Kanye’s people and get him some help” [02:32:48]. Similarly, LeBron James is criticized for performative social media posts instead of taking concrete action [02:35:31].
Art vs. Ideology and “Cancel Culture”
The discussion touches upon the line between art and dangerous ideology, especially in the context of “cancel culture.” For a figure like Andrew Tate, his “meteoric” rise to fame was due to his “salacious” and unique packaging of ideas, often presented with humor [02:08:33]. However, his downfall came when he claimed his controversial statements were not jokes but his true “ideology” [02:05:06], influencing “impressionable minds” [02:05:20].
The idea that “art” allows for discussion of “radioactive” topics is stressed. A comedian, for example, can make jokes that are “way more sexist than anything Tate said” [02:08:12], but because it’s framed as comedy, it’s digestible [02:08:15]. However, if a public figure states the same ideas as truth or ideology, they risk “cancellation” and losing control of their “narrative” [02:06:06].
”Manosphere” and Dating Dynamics
The “manosphere” is discussed in relation to societal dating dynamics. Kevin Samuels, a figure in this space, was known for telling people to “be realistic” with their expectations, particularly women seeking millionaires [02:09:09]. This perspective is controversial, with some arguing that people should be allowed to dream big, while others, including Academiks, believe there’s a “cost to be unrealistic” [02:02:17], such as the breakdown of family structures.
Academiks critiques the manosphere’s focus on “high value man” theories, which only apply to the “1%” and are not applicable to the majority [02:03:52]. He argues against the idea that treating women poorly makes a man “alpha,” calling it “insecure” behavior [02:39:21].
Gender Identity and Public Discourse
The conversation briefly touches on gender identity, particularly in the context of transgender individuals in the adult entertainment industry. Academiks expresses that if a man who identifies as straight deals with a transgender person, they “should tell him be a front” [05:46:18], implying the importance of disclosure. This leads to a discussion about societal discomfort with certain conversations and how framing them as jokes can allow for open dialogue [05:57:07].