The rapper on the screen cannot be more than 19 or 20 years old. The rhythm is as satisfied as the melody that sings in the immediately catchy hook, built around a bright piano loop and influenced through the Gospel. It is surrounded through friends, none of them much greater than him, some who seem much younger. It is all the chances of a sunny summer bop, however, the rapper soft a monstrous automatic rifle that looks like any service thing Call of Duty, causing the soft presentation with the contrast.

The gun draws attention because it is almost as high as the child who holds him; It results from the video, but the letters mark it as the only thing that belongs to it. Children, rhythms, even aesthetics with a low budget, attracted by an iPhone in the coma cuisine seem extraordinarily incongruous with the rise of rise transmitted through those words and this gun.

The video in the consultation is “Gang with me” through Polo G, however, it can belong to one of the other rappers that have filled their videos of the same armish point of the army and sinister quality, viral arrivals like Tay-K, whose video for “race” made it a superstar, a Ybn Nahmir, which formed its collective of games online, still online, still online, still online, still online games Online games and online games and online game, and online games and online game, and online games, and online games, and online games, when online games are online games, and online games, when online games are online games, when online games, when are online games, when online games, when they are online games, when online games are online games, when games online, when games online, when games online, when games online, when games online are online games Online, when they are online games. The networks of the online games and the rap of the ball when the online and Bild games networks collected flew when the online games networks and the ball when Rap and Bild are collected. Bilou “Rubbin” Off the Paint “has become a YouTube favorite.

The monitoring of the pole is almost non-existent, the video is a promoted promotion for the hip-hop of the global as that of Tay and as that of Nahmir, however, it is transparent that hopes to be inserted as they did in the constant and consistent evolution of hip-hop through the proof of its street credibility. It is a gangsta. It is a threat. It helps keep it real. But why? Why would we need the first impression of your audience and art?

“Maintaining reality” was not just a hip-hop music capacity and culture, this is the basis on which both are built. The rap public, and therefore, the main labels and media that feed music with their possible consumers, have long insisted on authenticity as a cardinal hip rule. In hip-hop, “Keeping reality” is an honor badge, a previous requirement and a code of ethics at the same time, supposedly. Over time, the definition has moved to represent as many other things, however, the history of the forty-five years of hip-hop, has been related to a very specific attitude, a personality of violent hypermasculinity that led to videos as those described above that are previously adjusted, is no exception.

But this popular has had disastrous consequences for some of the rappers who have joined forces with violent attitudes; Tay-K, 18, is recently attempted for a capital homicide in the state of Texas, while the debatable rapper of Florida XXXTentacion was demolished only one month ago. Keeping it real, at least in the sense of prayer that evokes the credibility of the street and the invincible and hard character, at a price. The obsession to achieve a form of twisted authenticity is to endanger a new generation of enthusiasts and artists who flooded with this precept without asking why.

However, it was not so.

For Rob Markman, who is recently the popular artistic manager of the Popular in Thearray and a veteran hip-hop journalist with bylines on sales issues such as Complex, The Source (RIP) and Vibe, “Maintain real” means to maintain this original for you. “

“Nwa Real,” Markman said. “Even if it is well documented that all the members of the organization were not in fact a gangsta, they made a long way to show the United States what was happening in the streets when no one else would. But I think that soul, which came out here at the same time, also kept it.

It is true, but there is some other component of the story. When Soul made his Deyet with 3 feet at the top and emerging in 1989, Gangsta Rap was already on his way to the dominant form of hip-hop to the point, in fact, that the soul was also in a large ridiculous component for its “hippie” symbol and “the age of the margarita” is aesthetic, at its disposal of 1991, the soul is presented, a soul is presented, damaged, damaged. The metaphorical link with the cultural replacement of hip-hop at that time may not be clearer, but in fact it turns out that one of the souls can be rather won in the era of fashion.

https://www. youtube. com/watch?v=qjmpptqipoei

Hip-Hop journalist Rodney Carmichael, who is lately NPR resident and wrote to Fader and Spromoling, expanded in the definition of “keeping it real” with respect to solidarity within the marginalized communities.

“Authenticity has the solidarity of the street,” he said. “I would like to think today that it means being faithful to yourself. And for many artists, I think that is the case. The hearts of the industry for rappers are those of the rappers, this wave, this generation becomes more original for oneself than ever. “

These Soundcloud rappers, from the finishing of XXXTentacion and trippie redd to Lil Skies and Wifisfuneral, possibly would have given the maximum freedom to adopt their own individual styles of any organization in the hip-hop. As always, there is a decrease in the oldest heads: J. Cole took the stereotype of a Soundcloud rapper in “1985 (Introduction to” The Fall OFF “)”, attracting the anger of young Soundcloud as Lil Pump, but the finish results in a position in which the two rappers could end and place more unusual than in the conflict. However, they depend on the ancient tropes born to the fascination of rap for firearms and violence, while the mechanisms that feed their fame (magazines, blogs, transmission and social media sites) protect their selection to achieve it through the product of its authenticity.

Carmichael illuminates the motivations to use “real” to protect the replacement towards Hardcore hypermalistic archetypes as a fundamental rap style. “At first, it was a way to protect rap gangsta” as a representation of reality, “said Carmichael. ” It was a time when difficult features in the United States as politicians and societies denied art form, without attacking the inequalities that persisted in rap communities. “

The story will be well known now. Hip-hop as a form of art and a culture has fixed the oppressed urban districts of New York. It was created and exported through the young blacks and Latinos who used the music, dance and language of hip-hop as an artistic exit and an escape from desperate situations of poverty, violence and negligence through the system.

“While Hip-Hop was discovered when he left the night of the disco, artists such as Grandmaster Flash and the furious Five, Kurtis Blow, Run-DMC, ICE-T and NWA discovered a good fortune about the things that were happening around them,” Markman said. “Songs like” The Message “,” Hard Times “and” 6 in the Mornin “exploded because they were the maximum realistic representation of the urban black in the United States at that time. “

However, the advertising charm of express artists, namely, NWA and its various spin -Offs such as Ice Cube and Dr. Dre, and despite everything artists such as Tupac and the big notorious, meant that record corporations and advertising corporations have noticed symptoms in dollars to reproduce the hard formula. “In the end,” Keeping It real “had caused in this absurd game of an increase in force where artists felt they wanted to be more violent and misogynist than others,” Carmichael continued. “It has become this career to reproduce the stereotypes that proliferate in the industry, not to keep it genuine yet to sin the models of good fortune of the industry. “

“The thugs were winning, so kill him,” he continued. “And if you are not a thug, you better learn to act as such. They were capitalists doing what the capitalists do: exploitation. ” The culmination of this precept can only be 50 cents, the rapper of the queen who has reached good unreal fortune, several times Platinum, with a commercial empire that covers music, fashion, television, movies and even drinks for athletes, the mythological proportions of her gangsta symbol, made ironic through their survival of being drawn nympic.

The young people ate the most violent and sexist material, which led to a cycle of comments from artists that would have begun to turn their desperate cases to serve the interests of corporations that have given them the opportunity to leave those cases. “When” genuine “is a marketing tool, it begins to the detriment of the genre,” Markman said. “We begin with this very undeniable concept of what is” genuine “, then, once an artist takes off when exposing his truth, the industry begins to create a lot of imitators. “

A correct example would be Rick Ross, Florida’s artist who began his career as a war rapper called Teflon as a component of Erick’s rapid sermon circle and then reinvented himself as a true drug score “Highway” Ross Ross and was dyed from his old drug corridor and Ross de Ross de Ross. The gangster symbol with which it had been marked.

Ebro Darden, a larger guy in the hip-hop and coanfrerion of the popular Beats 1 radio program in Apple Music and Hot 97 Morning Show, Ebro in the morning throughout Peter Rosenberg and Laura Stylez, thinks that there is an ambitious quality of this insistence in this violent form of authenticity. The host of the antenna whose systems have become two main forums for the discussion of hip-hop in recent years, which is an authenticity is a fantasy of the force perpetrated through enthusiasts who need in the “fairy tale of the ghetto. “

“This verbal exchange has happened several times in the hip-hop,” Darden said. “I think that many things are perpetrated through nerds that really need in the artists who entertain themselves because they are sitting in their room to play video games and that they don’t really live this shit on the street. They need the shit to listen to in music. But I have news for you: the maximum of the hour, it is not. “

In their music, the rappers such as DMX, the Notorious Big, Ice Cube, Tupac, 21 Savage, 50 Cent, Tekashi69, Ybn Nahmir, Chief Keef, T. I. and others have extracted more than the American army and sold more cocaine than Pablo Escobar and Manuel Noriega (which can or can or may not.

This is Why, in Spite of the Lefeuille Expectation of an Ultra-Violent “reality” “reality” displayed through the advertisement and complaint of artists resolutely non-gangsta like drake, J. school, kanye West, kendrick lamar, logic and even stoner totem wiz khalifa, The Worldstar Hip-Hop Page, 21 Enfach, “Helicopters”, “Full”, “Sweepers” and “Sticks”: all references of automatic weapons of the type that many must be forbidden to sell in the United States. Even when weapons themselves do not appear, those rappers and others put on many discomforts to convince the listeners that they are not far from going with hand gestures, provocative words and repeated insurance that those rappers are “really there. “

Although such artifice can really be those that must take into account their lifestyles, many of those rappers are based on violent and poor neighborhoods, after all, exaggeration has reached almost caricaturized degrees, occasionally to the detriment of artists. Take the almost consistent flacage of Tekashi 69 from a gangster lifestyle. He affirms that “Treyway”, an emanation founded in New York by Bloods Street Gang, in his music and interviews, enjoying other gang members such as the game and the YG of Compton and the rival sets throughout the country. This has led to disastrous consequences because a recent attempt of a robbery flight has hospitalized.

Fans in the long hip of the hip, the documentary filmmaker, Brian Zisook -founder and editor -in the main of the popular rap complaint of Djbooth -(aka DJ Z) theorizes that many rappers today can act through a feeling of legal responsibility to satisfy a gangsta role, instead of documenting their genuine phrases. “You can say the fact of a friend or a circle of relatives while” keeping him genuine “even if it is not his own non -public genuine,” he said. “[However], now more than ever, rappers sabotage their careers in” a genuine permanence. “Ironically,” Stay It Genuine “, at least in fashion times, has become the manifestation of everything that is fashionable, behaviors that are harmful and destructive. “

Meanwhile, many Raperos of Traps and Darling controlled to attach the struggles in the third user of other people, the rappers who actually live the life of the street have faced tragic consequences for their genuine elections. Tay-K, 03 Greedo, Bobby Shmurda and chef Keef faced the repercussions of life in which they rapid, which have had the dissatisfied aspect effect to derail their careers. Tay-K tries to kill, Greedo is recently purging a prolonged sentence for the property of firearms, Bobby was locked in 2016 for an accusation litany, adding the conspiracy and ownership of weapons, and Keef was a repeated guest of the correctional formula after having stepped on the taste of “drilling” rap of ultra-violent Chicago.

“If you hit crimes that you make today, there is an intelligent possibility that it does not go,” Ebro warned. “Sometimes, the rappers who do not live tell themselves stories in the third person or as a witness. Then, they have rappers that perpetuate that they are this drug and firearms drug trafficker who earns all this money, but those lines become blurred because the other people live The artist speaks. “

Meanwhile, artists such as Luck The Rapper, Kyle and Drake continue to get good fortune without resorting to violent or gangsta tropes, or at least when illuminating them. In Drake, in particular, it is fast to say that he knows that men have removed their lives on the street, but do not claim it directly through themselves. Chance and Kyle have the poster’s poster poster in rap, Kyle blatantly admitted that he stopped hitting the gangsta tropes in an effort to be more true for themselves and assume the negative facets of the disturbing dependence of the prescription pills that he introduced and denounces now.

Markman thinks that the good fortune of these other artists does not necessarily mean that “keeping him genuine” has lost its importance, it only redefines itself for a new era. “” Keep genuine “does not mean” street, “Markman said. “The school won Kanye West remained genuine. Drake kept him genuine when he fell so far and talked about his feelings, his sorrows and his family adjustments. Kid Cudi remained genuine when he talked about depression. “

“There are many enthusiasts who don’t care, whenever they look good, they sell,” he continued. “But I have the impression that an artist has a genuine longevity, so there will have to be a safe authenticity point in his work. What many artists do not get is that the public is capricious, which is great today can replace a year.

Carmichael says that raising rap authenticity, when it is definitely concentrated, gender and culture progress.

“[Hip-hop will have to return] to true ethics for oneself,” said Carmichael. “Originality, innovation, the ingenuity of the genre that led to a group of disadvantaged young people of their rights in the Bronx to start throwing parties with their parents’ archives, to align with street lamps in the park, to isolate the breakbeats to be larger and then the sample to update the lack of tools due to reality.

He is right. Hip-hop is used as a treatment in special schools in poorly attended communities and is used through entrepreneurial teachers to attend the basic transmission concepts such as mathematics and geography. The series of lucky occasions of Mike Chance in his local Chicago intends to exhibit young people how to explain artisticly so that they do not have to hotel a violently agitation in the streets and can apply the same skills that defend the creation and commercialization of music, from artistic writing to the implementation of business plans, to obtain other living spaces.

Hip-hop no longer wants caricatural representations of exaggerated violence, which can also be destructive to culture and its artists, to be the only authenticity criterion. Hip-hop, as a form of art and as a culture, possibly would not have undertaken glamorous violence, however, the elements of the industry that surround hip-hop, which exploit culture and artistic form, continue to do so. The culture itself can obtain advantages of a critical review of violent authenticity, either in the way in which culture adapts and affects, as well as the dominant current.

Keeping it genuine turns out to be the critical service like hip-hop, however, the objective remains faithful to yourself, not a gangsta, the credibility of the street. This is not only essential for the good fortune of individual artists, but it is also vital to create new archetypes for long -term generations, so that they are not trapped in a cycle of violence without stopping or delight in a fantasy with harmful genuine implications.